* Beginner,intermediate and advanced Belly Dance classes

* Private lessons

* Workshops for stagettes, birthdays, parties

* Classes at your place of business

* Out of town weekend workshops

* Performances for restaurants, parties, weddings, anniversaries, stagettes, cultural events, trade shows and conferences
(Sorry, no bachelor parties)

* Middle Eastern Dance productions

SEE BELOW FOR TEACHING SCHEDULE, FREQUENTLY ASKED QUESTIONS AND MORE INFORMATION. TO CONTACT, CLICK "CONTACT MEMBER"(UPPER RIGHT HAND SIDE OF PAGE) OR CALL 780-418-4108.

Aldiya's office is powered by 100% green electricity from bullfrogpower.com

Offering joyful, spirited performances and a safe, supportive environment for learning this beautiful, ancient art.

COMMENTS FROM PAST PARTICIPANTS:

"Aldiya is the most professional of the belly dance teachers that I have had in regard to her expectations, thoughtfully planned organization, progressive instruction, and supplimentary handouts. She is very encouraging and this is the first time I have been taught to understand the different beats in the music"



"The most enjoyable dance class I have ever taken"

"It was absolutely wonderful! I enjoyed it so immensely and having NEVER taken a dance class in my life, I feel confident, through your teaching style and instruction, to take classes again"

"I'm in awe of your imagination and choreography skills - and always impressed with your teaching too. You do

it with grace and style, respect and joy!"

"Aldiya is an amazing teacher and it is a joy to come to class. Her grace and skill make her a constant source of inspiration"

"Aldiya is a nurturing instructor whose professionalism brings out the best in her students. Her classes are very well structured and she takes great care to answer all questions thoroughly. Her ability to make each student feel respected and valued allows for a very positive learning environment. Not to mention the fact that she is an AMAZING bellydancer - we are lucky to be learning from her."

"You make a magnificent instructor with a great sense of humour and attitude"

"Aldiya has a great way with people and instiling confidence even while correcting us in class!"

"My aim is to get a better body shape, more flexibility, and have fun. So far that's working thanks to you!"



"Aldiya is a terrific instructor! Very knowledgable and skilled with a warm supportive personality to match"

"Aldiya is a friendly, inviting person with enthusiasm that she brings to the group. She is very encouraging with people's individual style"

"I have a degree in physiology but I never appreciated the intricate connectivity and functionality of the different muscles in our body until I learned how to work them out individually in this class"

"I've always wanted to dance but never felt my 'body type' was conducive. I never felt that here (in class). Thanks so much for that!"

"You really provide something different in the belly dance community. Your classes are diverse and all encompassing"

"I gained confidence in my body. I felt freedom with every movement"

"No hub, no kids, no dishes, no laundry, fun for me, YAHOO!"

I have been studying Middle Eastern Dance and music intently and passionately since 1998 with both local and internationally renown dancers. I have been performing for ecstatic audiences since 1999(OK, maybe not ecstatic, but definitely enthusiastic), and teaching lovingly since 2001. I have studied the fascinating and complex Arabic rhythms, learning to play them on the doumbek (Egyptian tabla). I have also studied the haunting Arabic maqamat, which are similar to the Western notion of a musical scale although much more complex and comprehensive (special thanks to Dr. Michael Frishkopf, ethnomusicology, University of Alberta, for his assistance and patience). I have travelled to Egypt and Turkey to study the dance and culture (for more on my travels in Turkey, please see the ARCHIVES section at the bottom of this page; 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).

Prior to my total envelopment in the world of Middle Eastern Dance, I studied Ukrainian dance, yoga and tai chi and dabbled in ballet, swing, and chi gong. I had a blast teaching Metis folk dances to school children at the Musee Heritage Museum in St. Albert. I studied human anatomy as part of my Alberta Fitness Leadership Certification and as part of my degree in Cultural Anthropology. I also studied applied human anatomy as it relates specifically to Middle Eastern Dance movements through Hadia's Middle Eastern Dance Instructor Training Program. In February 2003 I completed Venus' Middle Eastern Dance Instructor Training Workshop. I continue to expand my skills and knowledge through workshops with internationally renown dancers such as Yousry Shariff, Beata and Horatio, Yasmina Ramzy, Sahra Saeeda, and Hadia.



SHOKRAN JAZILAN

I would like to thank my instructors and all the wonderful dancers I have taken workshops with for introducing me to this amazing dance. Special thanks to Hadia, dancer and instructor extraordinaire, for her guidance.

An extra, extra special thanks to all my students, who have been and endless source of inspiration (for photos of my students in action, please click on IMAGE GALLERIES at the top left side of this page).



CAREER HIGHLIGHTs



An impromptu Middle Eastern Dance performance with the Istanbul Oriental Ensemble at the Frances Winspear Centre in Edmonton in March 2001(pinch me! did that REALLY happen?!)

Performing with Vinok World Dance and the Alberta Jazz Ensemble at the Northern Albera Jubilee Auditorium for the Alberta 2005 Centenial Celebration to a standing ovation. What a rush!!

o

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NOT JUST SHAMELESS SELF PROMOTION!!!!

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Ok, so maybe 95% of this page IS shameless self promotion. My other, and much more noble aim is to educate. I would like to dedicate this space to brief informational (and hopefully entertaining) tibits on Middle Eastern Dance, music, and other related topics, especially since misunderstanding about Middle Eastern Dance seems to be fairly widespread. My intention is to update this section periodically (the road to WHERE is paved with good intentions, you say?). Keep your fingers and toe rings crossed.

So without further ado, here is the latest installment of NOT JUST SHAMELESS SELF PROMOTION (insert canned fanfare here)

BELLY DANCE AND SPINAL INJURY: DONNA BELLE'S STORY

By Lorraine Price

In 1997, Donna Whitford, aka Donna Belle, began taking Belly Dance classes. In 2001, she began instructing for Isis Dance Productions and became know to all as Delia, one of Edmonton�s most vibrant and beautiful new professional Belly dancers. In 2005, we were sad to bid her farewell as she moved to Cumberland BC. Lucky Cumberland, for as soon as she unpacked her bags she began teaching and performing in her new home town.

In late January of this year, many of us were dumb struck to hear that Donna had been in a roll-over vehicular accident. We knew she was alive, but it wasn�t for a few more weeks until we knew details. Among other injuries, Donna suffered the crushing of her T-10 vertebrae and was told that it was not likely that she would ever walk again. Anyone who knows our sweet Donna Belle knows her spirit would never settle for anything short of dancing again.

Over the past year Donna has worked incredibly hard to put the pieces of her life and her body back together. The dance community in Cumberland held a fundraising benefit to help her through the very harsh early stages of this journey. This summer she was able to come home to Edmonton, visit her family and aggressively seek out alternative therapies to assist her healing.

Time and time again, Donna and many of her health care practitioners have credited Belly Dance with both her exceptional progress and with saving her life. Belly Dance gave her the strength of muscle and flexibility of joint to survive the accident. It is the inspiration of this ancient art form that makes her get up every day and learn how to be in this world all over again. She doesn�t talk about walking again. Our Sweet Donna Belle insists on dancing again. Donna�s most recent triumph is the ability to voluntarily isolate and engage some of her abdominal muscles; movement she was told she would never have again. When I spoke to her recently, she was bubbling at the ability to sit upright without mechanical assistance, and how she�s working daily on her belly rolls.

For previous issues of NOT JUST SHAMELESS SELF-PROMOTION, including my article on Turkey, see the ARCHIVES section of this webpage

FALL 2008 CLASS SCHEDULE, PERFORMANCES, UPCOMING EVENTS:

PERFORMANCES:
Aldiya performs regularly at the Greek and Lebanese restaurants listed in "Live Belly Dancing in Edmonton and Area". Please see below for details or call 780-418-410

Aldiya Presents:
OUMI OUMI HIZZI
Middle Eastern Dance Recital
Sunday, December 14
Royal Alberta Museum
12845-102 Avenue
Doors 6:30pm, Show 7:00pm
$16.00 Advance, $21.00 Door
Food Bank donations will be collected at the door
Contact aldiya_med@hotmail.com or 780-418-4108 for tickets or more information

Join Aldiya and friends for a fun, fabulous and informative evening celebrating the dances of the Near and Middle East. Professional dancers, instructors and students of this beautiful art form present its colourful and broad range; from classic Raks Sharqi and elegant veil work to lively folkloric dances, heart-stopping drum solos and mesmerizing Taxim, all accompanied with an enlightening narration. Food bank donations welcome. Contact aldiya_med@hotmail.com or 780-418-4108 for tickets or more information.

WINTER 2009 CLASS SCHEDULE:
Classes fill quickly. Please register early to avoid disappointment. As with any new movement program, please consult your physican prior to beginning this program. E-mail aldiya_med@hotmail.com or call 418-4108 for more information.

Please note: Aldiya will be on maternity leave from January - March 2009 and will be teaching a limited schedule. Qualified substitute instructors will be covering the remaining classes for this period. Instructors are indicated by each class. Please see instructor bios at the end of the Winter schedule for more information on substitute instructors

EDMONTON CENTRAL:
Beginner(level 1)
Instructor - Aldiya
8 Thursdays
January 22 - March 12
8:30pm-9:30pm
$70.00 non-refundable (includes GST)
no pre-requisites
To register, e-mail Aldiya at aldiya_med@hotmail.com or call 780-418-4108

Beginner(level 1)
Instructor - Rasha
11 Mondays
January 19 - March 30
5:30pm-6:30pm
$100.00 non-refundable (includes GST)
no pre-requisites
To register, e-mail Aldiya at aldiya_med@hotmail.com or call 780-418-4108

Intermediate(level 2)
Instructor - Anya
11 Mondays
January 19 - March 30
6:40pm-7:55pm
$110.00 non-refundable (includes GST)
Pre-requisite: Minimum 20-30 weeks of beginner classes and 4 weeks Technique Class (see below)
To register, e-mail Aldiya at aldiya_med@hotmail.com or call 780-418-4108
**Finger cymbals required for intermediate classes. Please call 439-6960 to purchase**

Advanced (level 3)
Instructor - Anya
11 Mondays
January 19 - March 30
$120.00 non-refundable (includes GST)
Pre-requisite: Minimum 30-40 weeks of intermediate classes and 8 hours Technique Class(see below)
To register, e-mail Aldiya at aldiya_med@hotmail.com or call 780-418-4108
**Please bring zils and veils to advanced class as we use them periodically**

EDMONTON NORTH:
Beginner(level 1)
Instructor - Rasha
11 Wednesdays
January 21 - April 1
6:55pm-7:55pm
$100.00 non-refundable (includes GST)
no pre-requisites
To register, e-mail Aldiya at aldiya_med@hotmail.com or call 780-4184108

Intermediate (Level 2)
Instructor - Rasha
11 Wednesdays
January 21 - April 1
8:05pm-9:20pm
$110.00
Pre-requisite: Minimum 20-30 weeks of beginner classes and 4 weeks Technique Class (see below)
To register, e-mail Aldiya at aldiya_med@hotmail.com or call 780-418-4108
**Finger cymbals required for intermediate classes. Please call 439-6960 to purchase**

TECHNIQUE CLASS - ALL LEVELS
Instructor - Aldiya
Features exercises to help improve strength, balance, flexibility, coordination and belly dance technique.
Edmonton Central
4 Thursdays
November 13 - December 4, 2008
*or*
March 19 - April 9, 2009
8:30pm-9:30pm
$30.00 (includes GST)
To register, e-mail Aldiya at aldiya_med@hotmail.com or call 418-4108
**Technique Class is a pre-requsite for intermediate (level 2) and advanced (level 3) classes**

BIOS - SUBSTITUTE INSTRUCTORS FOR WINTER 2009 SESSION:

ANYA (Monday Intermediate and Advanced Classes
Anya/Andrea began her belly dance adventure in 2004 when she spontaneously signed up for a class. Since that first fateful class Anya has fallen in love with the music and dance of the Middle East. She began teaching in the fall of 2007 and has found her true calling! Pulling from skills developed during the completion of her Education degree, Anya is noted as being a patient, energetic, and knowledgeable instructor. To serve her students better and to enrich her own knowledge and skills of the dance, Anya frequently attends workshops and has completed over 100 hours of training with her mentor, Hadia. This summer she completed Hadia�s 2 week Professional Oriental dance training program, and has also completed her level 1 and 2 teacher training courses in 2007. Anya can be found throughout the city teaching classes and workshops, or performing in Edmonton�s finest Middle Eastern restaurants.

RASHA (Monday Beginner, Wednesday Beginner and Intermediate classes)
Rasha began studying Middle Eastern Dance 11 years ago, and has been performing professionally in Edmonton, Alberta for 8 years. She has been dancing since the age of 3 in classical ballet, modern, character and Latin dances. She decided to expand her creative expression and she soon became entranced with the beauty and passion of Middle Eastern dance. Over the years she has trained with Anemone and taken many workshops with internationally known dancers such as Hadia, Yousry Sharif , Tayyar Akedniz , Yasmina Ramzy, Bozenka and Sonia. Her ongoing training in Middle Eastern Dance has enriched her experience with the art and created a passion to share the dance with others. She performs regularly at Edmonton�s Greek and Lebanese restaurants.Rasha has a diploma in Chemical Technology and a BSc in Nutrition and Food Science.

ALDIYA will continue to teach the Thursday Beginner and Technique classes during her maternity leave.

ALSO OFFERING WORKSHOPS AND PERFORMANCES FOR:

*weddings*

*birthdays*

*anniversaries*

*bridal showers*

*restaurants*

*corporate and cultural events*

(sorry, no bachelor parties)

RATES FOR PROFESSIONAL PERFORMANCES AND CUSTOM WORKSHOPS IN EDMONTON:

*Private functions within Edmonton: 20-30 mins - $175-$200 /show
Featuring a fun, light-hearted interactive show apropriate and enjoyable for the entire family

*Worskhops: 1-1.25 hours - $150; $125 for each additional hour
Performance in professional costume and/or studio fees extra if applicable
Introductory workshops include several basic movements, combinations and/or simple choreography, dabke (national line dance of Lebanon), short demonstration (3 minutes) and handouts. A great option for birthdays and bridal showers. Custom workshops also available

*Out of town performance or workshop fees (more than 25 km outside Edmonton): add on hotel charges and mileage or airfare as applicable

Extra fees apply to delays, costume changes and split shows, sword and shamadan performances, and New Year's Eve performances.

Call 780-418-4108 or email aldiya_med@hotmail.com for information on scheduling

hadia.com

oriental-fantasy.com

helene-erisken.de

shira.net

crystalshimmy.com

isisdance.com

alina-bellydancer.ca

samirabellydancer.com

RaksAmar.com

harmonyhealtalberta.ca

jumanah.org

shahenda.net

abirscasbah.com

bellydance.ca

vashtihintonalberta.com

farahnaz.ca

dancealberta.com

Performances are 20-25 minutes in length. All shows feature a solo female performer unless otherwise stated. These performances are fun, upbeat, and interactive, so be ready to clap, laugh, and maybe learn a move or two! Tips are welcome. If you are uncomfortable tipping the dancer directly, you can give your tip to the server to give to the dancer. Hope to see you there!

Anotnis, #40 - 516 St. Albert Road, St. Albert, Fridays, 8:00pm, 458-2668

Cocodi, 10160-100A Street, Saturdays, 11:30pm, 425-1717

Grub Med, 17 Fairway Drive (119 Street, 37 Avenue), Fridays and Saturdays, 8:00pm, male dancer on fridays, female dancer on Saturdays, 436-1988

Koutouki Restaurant, 10704-124 Street, Fridays and Saturdays, 7:45pm, 452-5383

Koutouki Ouzeri, 9977-178 Street, Fridays and Saturdays, 8:00pm, 484-4900

Koutouki Taverna, 10310-45 Avenue, Fridays and Saturday,8:30 p.m., 432-3660

Koutouki in Leduc, 5015-48a Street, Leduc, Friday and Saturday, 7:30pm, 780-986-3288

Lashish, 224 Mayfield Common, Saturdays, 11:30pm, 489-1313

Sultans Palace, 10171-109 St (in the Metro College building), Saturdays, midnight, live Arabic music, 969-9998

Syrtaki, 16313-111 Avenue, Fridays and Saturdays, 7:30pm, 484-2473

Yiannis, 10444-82 Avenue, Fridays 8:30 p.m., Saturdays 7:00 p.m.and 9:00 p.m, 433-6768

Please note: shows may be cancelled occasionally due to too few patrons in a restaurant. Show times are subject to change. If you are hoping to see a show, please phone ahead and enquire about the belly dance performance.

The following is a list of answers to the most frequently asked questions I recieve. If you find you have further questions after reviewing this list, please feel free to contact me at 418-4108.

1)What do I bring/need for the first day of classes?

- comfortable, stretchy, form-fitting clothing (eg.leggings, form fitting t-shirt, yoga suit, shorts)

- water bottle

- optional - hip scarf, coin belt, soft soled slippers (barefoot is fine), mat or towel

2)I have no previous dance experience/Do I need experience?/I am an absolute beginner:

The beginner class is designed for those who have never taken dance before

3)Is it good exercise/will I lose weight?

Belly dance is like any form of exercise - the more you put into it the more you get out of it. If fitness and weight loss are your goals, you can achieve them with consistent practice at home and in class; previous students have reported:

� stronger, more toned muscles

� improved flexibility

� better posture

� more self confidence

4)What ages do you teach/I am 40-50-60, am I too old?

Students range in age from 12 - 60 and beyond! Classes are not separated by age; all ages are in the same classes together

5)Do you teach children/what is the minimum age?

The minimum age for my classes is 12

6)I am a bit on the heavy side/overweight. Will I be able to dance?

Women of all sizes take belly dance classes, from very petite to very voluptuous

7)I have a bad back/I am pregnant/fybromyalga/other medical condition. Can I take belly dance?

As with any exercise program, it is important to talk to your doctor before trying any new physical activity; previous students have reported improvement with back pain, fybromyalga, and many have continued to dance while pregnant (Aldiya has scoliosis, or lateral curvature of the spine. Please keep in mind that each case is individual. No matter what your medical condition ALWAYS CONSULT YOUR DOCTOR PRIOR TO BEGINNING ANY MOVEMENT PROGRAM

8)What will I learn?

Beginner - 20-40 basic Middle Eastern Dance moves, dancing with a veil, choreography/dance, creativity, improvisation

Intermediate - 20-30 movements, finger cymbals, cane dance (Egyptian folkloric), candle dance, choreography/dance, creativity, improvisation

Advanced - 20-30 movements, music study (rhythms and instrumentation), Khaleegy (folkloric, Saudi Arabia), Nubian (folkloric, southern Egypt), Ismalia (folkloric, Port Said) , sword dance, double veil, finger cymbals,choreography/dance, creativity, improvisation

9)Do you teach different levels/how many levels are there/what happens when I complete this class?

Levels offered are beginner/level 1, intermediate/level 2, and advanced/level 3

There are no prequequisites for beginner classes

Students are required to take 20 weeks of beginner classes (2-3 sessions) plus 4 weeks of technique classes (1 session) before moving on to intermediate classes

Students are required to take 30 weeks of intermediate classes (3 sessions) plus 8 weeks of technique classes (2 sessions) before moving on to advanced classes

10)Do you have student shows/recitals?

I organize 2 OPTIONAL student recitals each year, one in December and one in April, as well as a student party in June. Participation in recitals is entirely optional; there is NO pressure to perform at any level.

11)What is the technique class?

It is designed to help students improve their belly dance technique. It consists of exercises to improve strength, posture, grace, coordination and balance. It is open to all levels of belly dance students.

12)How do I register/I want to register/Can I just show up and pay at the first class?

Registration is through pre-registration only; I can send you a registration form either through email or regular mail.

When you receive your form, please fill it out and be sure to circle your class of choice. Please return your form and registration fee to the address at the bottom of the form via regular mail only (no emailed forms, please)to confirm your spot in the class. Classes tend to fill quickly, so it is advisable to register early to avoid disappointment. Be sure to mark the dates, times and location on your calendar to avoid confusion on the first day of classes

13)Can I reserve a spot?

Due to high demand for classes and previous difficulties reserving spots, spots in class can no longer be reserved.

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)