• Margo's Mezza Newsletter

• Articles by Margo

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Tips for Dancers

• "A Dozen Do's From Margo"
• "A Dozen Don'ts From Margo"
• "Staying Warmed Up"
• "Staying Motivated for Health"

For Dance Teachers

• "Improving Teaching Skills"
• "Middle Eastern Dance Class - Warm Up and Cool Down"
• "Providing Student Feedback"

For Dance Students

• "10 Steps to Improvement"
• "Conditioning for Middle Eastern Dance"
• "Test Your Knowledge with 25 Questions" (Margo's Quiz)

Interviews

• "A Weekend With Faten Salama"
• "Rakia Hassan: the visionary, the emissary"
• "Shimmying Beneath the Hageb: Reflections on a weekend with Nadia Hamdi"
• "Love the Dance and it Will Love You
     An interview with Aida Nour and
     Magdy El-Leisy"

General

• "Appreciation Comes in Many Sounds"
• "Free Play" a book review
• "Zagahreeting Zebras Playing Zills to the Zeffa"
• "Building Cultural Awareness In Third Grade"
• "Cultural Awareness Success Continues In Sixth Grade"
• "How to Get Him Dancing"

A DOZEN DO'S FROM MARGO

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by Margo Abdo O'Dell

1. Do try to attend at least one class per week and practice in between.
2. Do practice with DVDs if you don't live near any classes.
3. Do learn how to play finger cymbals. They are musical instruments, not props. If your teacher doesn't know how to play them, find one who does or use a self-study method.
4. Do use this dance form for exercise. The American Council on Exercise now recognizes it as one of the best forms of total body conditioning.
5. Do use this dance form to improve your balance, grace, flexibility and self-confidence. You can take those benefits with you anywhere.
6. Do know that you never have to perform in front of another person, if you don't desire that form of expression. This is your journey and no one should be forcing you to veer off your chosen course.
7. Do learn to recognize the real talent from the charlatans.
8. Do educate yourself about what this dance is and what it isn't. Just because Hollywood puts on a splashy production, doesn't mean it's the real deal. As a matter of fact, if Hollywood produces it, it's a good bet it's a fantasy, bordering on orientalism. (Whoa! Did I just print that?).
9. Do costume yourself properly. This isn't a cleavage contest or a pick-up method. This is a serious performance art from cultures deserving respect. Know your ethnic from your sharki from your (fill in the blank) and dress accordingly.
10. Do yourself a favor and be around people from the Middle East, not just people teaching Middle Eastern dance or club owners. And if you travel there, try to get away from the tour or the dance festival and be around the "real folk". You'll find a totally different experience. (Most don't have much time for dancing and clubbing. They're working).
11. Do look for a deeper meaning in the dance. A meaning beyond beads and coins, beyond applause and ego. When you find that deeper meaning, it will be unique to you.
12. Do have as much fun as you can. That's always the top priority in my classes. This dance is rooted in joy and sisterhood.

A DOZEN DON'TS FROM MARGO

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by Margo Abdo O'Dell

1. Don't listen to the critics. They are either jealous, don't know your objectives, or both.
2. Don't think you can perform without a lot of rehearsal - and I mean a lot.
3. Don't think that because you own a costume you're a professional.
4. Don't think that because you're not a professional you can't perform. Choose your venues carefully.
5. Don't ever, ever, ever appear at a sex expo. (I can't believe I even have to write this).
6. Don't follow the crowd. You won't find your own voice there.
7. Don't be fooled by superficial praise. If you want real feedback, ask someone you trust and respect to give you balanced criticism.
8. Don't be discouraged by a poor teacher. Shop around for someone with the skills, knowledge and abilities you want. If you can't find someone, ask a qualified person to be your coach.
9. Don't assume that because someone is a good teacher that they are a good performer, and vice versa. It's nice if you can have both, but the skill sets are different.
10. Don't spend so much on costuming. Your money is much better spent improving your skills and knowledge through classes, watching professional dance performances of all types, books, listening to music, etc.
11. Don't criticize a performance. Look for what you liked about it and find the lesson in it for you.
12. Don't give up. Most success is unrealized not because of lack of talent but because of lack of tenacity.

STAYING WARMED UP

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by Margo Abdo O'Dell

In my last ten years of touring, I've noticed many dancers don't warm up before a performance. Maybe they've never been instructed on the how and why of the practice.

Warming up and then having to wait is one of the most challenging aspects of performing. Keeping your body temperature up is extremely important. After you stretch, put on a cozy cover-up to help maintain your body heat. Try some abdominal work (sit-ups, pilates movements, torso movements), a few minutes before going onstage to generate heat in your body and keep you centered. If you feel like you need extra energy, do a few sun salutations or other yoga sequences you can move through. Simply moving can be one of the best ways to stay warm. Bring headphones and a copy of the music you'll be performing to the theater, and while waiting for your turn on stage, dance without inhibition.

With that said, overdoing your warm-up and stretching can be counterproductive if you fatigue your muscles. That can put you at greater risk for injury, so be sure to listen to your body. Taking it easy and warming up your mind through meditation, concentrating on your breathing or mentally running through your routine could be your best approach.

For more information on appropriate techniques for warming up and cooling down, please see the article, "Middle Eastern Dance Class - Warm Up and Cool Down."

STAYING MOTIVATED FOR HEALTH

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by Margo Abdo O'Dell

1. Identify potential reasons why you would skip exercise. Write your excuses down and brainstorm ways you can work around obstacles. For example, if you find yourself using the "no time" excuse, come up with ways to fit exercise into your lunch hour.
2. Find a role model. Identify a consistent exerciser to whom you can relate. Find out what she has done to succeed in an exercise program.
3. Put it on your calendar. Treat your dance or exercise class with as much importance as any other meeting on your calendar. Try not to cancel for reasons you wouldn't use for other important meetings.
4. Listen to music if you work out alone. You'll find that your favorite music or a novel on tape will help keep your interest and motivate you to keep going.
5. Set your dance/exercise bag by the front door the night before. This way you won't forget to bring it to work. Going directly from work to dance/exercise class is one way of making sure you get there.
6. Make appointments to exercise/attend dance classes with a friend. This is motivating because you'll want to see your friend. Also, you will be less likely to cancel, because you won't want to let your friend down.
7. Try a variety of programs to avoid boredom. Cross training is the name of the game. Potential activities include walking, running, swimming, working out on cardiovascular equipment, strength training, etc.
8. Don't push yourself too hard when you exercise. You will receive little additional benefit from exercising out of your comfort zone. Exercise should be a little bit of a challenge, but if is too difficult, you won't want to continue.
9. Set up a reward system for yourself. Promise yourself that if you exercise for a given number of days, you will give yourself something that you want. This may be time for yourself, a weekend trip, a new CD or something else you'd like. Be sure to follow through with the reward.
10. Keep a log of the times you've exercised. This visual reminder of your accomplishments will make you feel good about already having exercised so many times. It will help motivate you to continue.
11. Seek out information on health and fitness. The more knowledgeable you become, the better able you'll be to guide your program. Fitness books, magazines, websites and talking to fitness instructors or personal trainers can be inspirational sources of information.
12. Use affirmations - they make it easier to establish new habits. I have to admit that I've never been one to follow this approach, yet I've heard from many professionals that affirmations help program your subconscious to accept new beliefs. They should be positive statements and start with things like "I am" or "I have." For example, one might be, "I am living a healthy lifestyle by walking twice a week at lunch." Repeat affirmations several times a week. You might feel that saying affirmations is lying to yourself if you haven't already achieved the goal, but that's okay! As long as the statement is a believable and achievable goal, this is fine.

IMPROVING TEACHING SKILLS

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by Margo Abdo O'Dell

Can you learn to dance by reading books and magazines, watching videos or interactive videodiscs, or surfing the internet? Can you learn to dance without feedback on your development?

As (belly dance) students, we learn and grow differently. You may be a visual learner, one who can watch a movement, internalize the information and adapt it to yourself. You may need auditory stimulation. That is, you prefer to learn by listening to the description of how a movement looks and feels. Or if you are a kinesthetic learner, you need to repeatedly perform the movement. One of these three learning styles may be your dominant style, but most likely you need exposure to all three in order to master a new dance step. Can a medium other than the human element provide that to a dance student? And what about the emotional, spiritual and interpersonal aspects of becoming a dancer?

Assuming we agree a dance teacher is essential in the development of Middle Eastern Dance proficiency, what makes a successful teacher, other than technical dance ability? I would like to suggest that the successful teacher is skilled in four roles.

In the role of educator, you take on the responsibilities of motivator, coach, skill modeler and skill shaper. You present the dance step or combination through explanation and demonstration. You answer questions, provide constructive feedback and offer alternative ways of thinking about the movement. It is in the role of educator that you compile and share your dance technique and information about the history, development and comparative differences in Middle Eastern dance styles.

The educator role is challenging. You can't instruct what you don't know. You are responsible for understanding the capabilities and limitations of your students if you expect appropriate and safe execution of movement. For example, if you are presenting a strengthening or flexibility exercise, you must be prepared to modify the exercise so each student can find a safe alternative. If you are presenting a dance movement, you must be sure the appropriate foundation of technique and alignment are in place before you increase the level of difficulty.

As the empowerer, you guide student involvement and creativity. You help overcome problems, guide relevant discussion, encourage the reticent student and stimulate thought about how to personalize dance technique and choreography. Students want the empowerer to be personable, practical, positive and professional. Your focus, in this role, is on the quality of the individual and group learning experience.

I have labeled the administrative role we play the manager. This is the role that keeps things moving according to plan: registering students, keeping class on schedule, presenting class activities in a logical manner, playing music, making announcements and distributing handouts.

And throughout the duration of a class, we are always the performer. Middle Eastern dance is a performance art, and as such, our presentation must reflect that reality. Class movements should appear as dance, we sometimes relate to students as audience for demonstration purposes and the genuine feeling of the dance should be apparent and encouraged. To quote the master dance trainer Rakia Hassan, "...[the dance] is not about how much you push, but about how much you feel."  Does this description of a Middle Eastern dance teacher seem too cognitive for our visceral art form or is it apparent you have been fulfilling various roles all along? Most of us expect high quality for our money, and dance classes are no different. The perceived quality, effectiveness and success of a dance teacher results from the knowledge, attitude and skills brought into the dance studio.

Knowledge: of Middle Eastern dance technique, performance skills, music and dance history; the experience, strengths and weaknesses of your students; the characteristics and needs of adult students; the benefits of repetition training without overdoing; the benefits of cardiovascular, flexibility and muscular conditioning for the dancer.

Attitude: enthusiasm for Middle Eastern dance, music and culture; personal pleasure in watching students learn; genuine interest in each student's questions and concerns; patience and tactfulness in all student interactions.

Skills: creating a motivating and positive learning environment; tailoring class activities; providing and soliciting feedback; listening and answering questions; projecting enthusiasm, appropriate performance skills, gaining and sustaining interest.

The above information addressed individual qualities for overall teaching effectiveness. Now, let us consider individual student differences. Here is a method to ensure your dance students will not learn and may not return to class: give them too much information; give it to them quickly; increase the level of difficulty before they are ready; belittle them; teach in a noisy/hot/crowded studio; do not respect their experience, comments, opinions; and do not allow them to feel a sense of accomplishment.

A bit tongue-in-cheek, but you get my drift. As educator and empowerer, it is our responsibility to provide a safe and non threatening environment that facilitates learning. We are fortunate to have a fascinating variety of students in our dance classes and all of their adult experience and talents must be respected. The fact they possess such diversity provides us with challenges. We must learn to customize classes accordingly.

For the beginning student, endurance and overall dance knowledge is minimal. Coordination, flexibility and body awareness are in the early stages of development and may cause frustration or impatience. Beginners have difficulty determining what they are doing wrong and may require a lot of feedback. Class emphasis should focus on the basics of isolations, flexibility, strength/endurance and dance technique. Repetition of movement and emphasis on posture and alignment are necessary.

The advanced student can accept increasing complexity of movement as well as increased speed, more intricate use of space, layering of movements and advanced play of finger cymbals. Their strength and endurance means they can handle a longer class and their experience dictates experimentation with improvisation. To challenge your advanced students, consider guest instructors to move them out of their comfort zone and for exposure to other approaches. In addition, the advanced student is apt to notice if you do not vary your music, exercises or other parts of your class routine. Just as you plan for introducing new steps and combinations, keep the other parts of your class fresh as well.

My experience has shown the goals of students most always include the pursuit of exercise, fun and camaraderie in addition to Middle Eastern dance technique and performance skills. We can provide interesting classes to meet these goals through well designed class plans and attention to the roles and attributes of teaching effectiveness.

MIDDLE EASTERN DANCE CLASS: WARM-UP and COOL-DOWN

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by Margo Abdo O'Dell

The warm-up is an important piece of any dance class because it increases blood flow and enhances oxygen supply to the muscles, increases core body temperature, helps prevent soreness and injuries, increases feelings of coordination, and promotes body awareness. The most effective warm-up movements are those that are purposeful and prepare the body for the specific workout you are doing, in this case, Middle Eastern dance. Consider these four types of movements:

Practice movements are range of motion exercises that are similar to dance moves performed later in class but are performed at a lower intensity. Since practice moves are functional, they comprise the majority of the warm-up. Many instructors use this method of warm-up, especially to introduce parts of a choreography early in the class.

Generic practice movements for the upper body include moving the torso upward, downward, in circular and undulating patterns, and slower movements of the shoulders and arms. Generic practice movements for the lower body include forward moving foot patterns, basic hip work in up, down, twisting and circular patterns, lateral moves such as the grapevine, and basic turns.

Large muscle movements are not identical to dance moves but engage the large muscles of the body thereby helping to achieve the overall goal of warming up the body. Large muscle movements include squats, lunges and push-ups. If this segment of the class is well planned, these movements can also serve as a vehicle for conditioning specific muscle groups, although to achieve significant results, conditioning exercises should be executed two to three times a week.

Joint isolation movements are range of motion exercises dedicated to muscles surrounding a specific joint area. Examples of joint isolations are side-to-side neck rotations, shoulder shrugs, shoulder rolls, hip isolations, ankle circles, foot rolls and pelvic tilts. These isolations help warm up the specific joints with active contraction.

Flexibility movements (or stretches) are appropriate to a warm-up if the goal is to prepare the body for the more vigorous dance movements that occur later in class. If stretches are part of the warm-up, consider a short series of full range-of-motion movements that take each muscle group to the limits of its range of motion in a slow and controlled manner. Although these movements may be referred to as stretches, they are not held as long as static stretches which are used for flexibility enhancement in the cool-down phase of a dance class.

Putting these four types of movements together will vary according to personal style and class goals. The selected sequence should include a progressive blend of intensity, duration, and variation appropriate to the age, health, fitness and skill level of students.

There are a few risky exercises worth mentioning as these should not be used at all or used with caution for the general population. Employ judgment with advanced students. Exercises that put the lower back at risk include double leg lifts, thrusting donkey kicks with neck and back arching, straight leg sit-ups, back arching or bridge, yoga plow and inverted bicycle, simultaneous arm and leg lifts and standing toe touches, windmills and other exercises with sustained forward flexion at hips. Risky exercises for knees include deep lunges with knees extending past ankles, deep knee bends and lean back quad stretches with both legs tucked under the body. The neck can be put at risk when the head is dropped back and when executing full head circles.

Music selection for instruction is a personal choice and certainly not limited to Middle Eastern music. I believe a student cannot hear too much of this genre because for some, it is difficult to distinguish various instruments, rhythms, and other musical nuances. Dance class provides an opportunity for the music education that is so important to Middle Eastern dance where the movement is unequivocally linked to the music. Examples of medium tempo songs I have employed for warm-up include Amr Diab's Mayal, Setrak's Habait from vol. 20, Warda's Nar El-Ghera and Abdel Halim Hafez's Waloaou Inak Ya Habibi Baid.

The primary purpose of the cool-down in dance class is to enhance flexibility for improved performance and injury prevention, lower elevated heart rates and generally relax students. Studies have shown that the combination of warm-up movements and flexibility movements will do more to enhance overall flexibility than either used alone. Current evidence also shows that stretching warm muscles reduces tissue damage and increases muscle elongation. Therefore, greater benefit is achieved when flexibility exercises are performed at the end of class.

The rule of thumb is to perform flexibility exercises in a slow, sustained manner, holding the stretches for up to 30 seconds. Stretch slowly and gradually without bouncing, maintaining a continuous tension on the muscle. The stretch should be felt in the muscles, not in the joints and exhaling during a stretch further relaxes the muscles. If stretching hurts, the stretch has been taken too far or is being performed incorrectly.

My goal is to devote a minimum of ten minutes to stretching at the end of class using mood music such as harps and flutes to encourage relaxation. Here is a description of a basic cool-down sequence that addresses muscle groups most commonly tight and prone to injury:

1. Torso/frontal shoulders: seated on floor, legs together and outstretched, hands a few inches behind hips, push the floor, lift the torso and tilt chin up slightly
2. Hamstrings/calves: in same seated position, flex feet, keep knees and back straight, flex forward from the hip not letting the back curve
3. Inner thighs/hamstrings: still seated, straddle legs, flex from the hip and stretch to the center and to each side, rotating the torso over the leg (again not letting the back curve)
4. Quadriceps: still seated, bend one knee and fold the leg under, support yourself with hands on the floor and lean back (go to elbows if more stretch needed, lay back on floor if more stretch is still needed), same stretch for other leg
5. Low back: laying down, hug knees to chest
6. Upper back/rear shoulders: gently roll over onto knees, sit back on heels while keeping arms outstretched over head, hands in contact with the floor
7. Come to upright position slowly by tucking toes under, pushing back onto feet, and slowly rolling up through the spine

As noted in the sequence above, many basic exercises are effective enough for advanced students. By altering body position, an advanced student can achieve increased stretch intensity. As flexibility improves, stretches can be added to include more muscle groups and more complex positions. With the addition or modification of exercises, ensure that the focus remains on technique and relaxation.

Finally, check to be sure students are feeling well enough to leave the class. If overheated or light-headed, the student can walk around the room slowly, drink water and wait until heart rate and breathing return to normal.

For the well being of dance students and instructors, the warm-up and cool-down segments of a dance class should not be minimized or ignored. With proper planning and practice, warm-ups and cool-downs can be as engaging as the technical and rehearsal portions of a class. And best of all, they will serve to better condition Middle Eastern dancers of all abilities and experience levels for improved performance.

Blahnik, Jay and Paula Anderson, MS, Wake Up Your Warm-Up, Idea Today, June 1996.
Clippinger-Robertson, K. 1993. "Components of an Aerobic Dance Class" In Aerobics Instructor Manual: Reebok University Press.
Kravits, Len PhD, Warm-Up Wisdom, Idea Today, March 1996.
Kravits, Len PhD, Slowing the Aging Clock, Idea Today, May 1996.
Prevention Magazine, From Tight to Right, February 1995.

PROVIDING STUDENT FEEDBACK

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by Margo Abdo O'Dell

Feedback, constructive criticism, coaching - whatever the name, the purpose is to assist students, through verbal and non-verbal communication, in perfecting their dance abilities. Practicing cueing (verbal instructions) and methods for breaking down movement goes a long way in the prevention of bad habits for students and eliminates excessive verbalization for you. The type of words we use may impact movement quality. Consider the differing results that may be achieved between two very different sets of verbal instructions:

• Keep your abdominals tight, your chest lifted, and head up, versus:
• Dance with confidence and an open heart, feeling energized with a sense of purpose in each movement.

Generally, we physically demonstrate as we verbally describe a dance step or exercise. Our description may include the name of the movement, the desired result, proper alignment, muscle names, locations, or actions. We stand in the vicinity of students requiring assistance and move around the room to offer individual feedback. We attempt a variety of methods because we have students with a variety of learning styles and experience. No doubt we have all experienced damaged ego by the words of enthusiastic, overly helpful teachers without being complimented when we finally got things right. So, let us consider when and how to give feedback.

One to One: If you know a student well and know she will not be embarrassed, a verbal correction called out to her is acceptable. A one-to-one correction is best if you know most of the class so they know you are not picking on the student. (Example: "Mary, bend your knees.")

Research and personal experience tells us that negative feedback is not motivating and does not achieve the level of results of other forms of feedback. Enough said.

A dance class is sprinkled with coaching tips provided by the teacher. We may encourage students to work at their own pace, realizing that some movements may be easier or more difficult than others and some days more difficult than others. Remind them that dancing is not a competition. Show your students how to choose optional exercises or movements if fatigued or injured. Monitor the intensity of their dancing and know when to modify the speed of the class. Encourage hydration, especially on warm days or in a warm room.

The primary purpose of dance class is to train the body, but let us not forget about the spirit. It is internal growth and development, not the ability to perfect a shimmy that matters in the end. Our dancing bodies may succumb to old age, but our spirit will continue to flourish. Students will appreciate our attention to the internal being as well as the external being.

Teachers as well as dancers seeking self improvement desire individual feedback. Unless you have the good fortune to be videotaped as you teach a class, we look to others to help improve our skills. We can invite other teachers to attend our classes and give us feedback in exchange for doing the same for them. Discussing our methods of verbalization and movement presentation with teachers we respect can provide us with new ideas and practical tips. Attending classes and workshops of those we admire helps us create the image of the teacher we want to be.

Another important source of information regarding our teaching abilities comes from our students. From time to time I ask my students to complete a written evaluation of my class. It is an opportunity for them to give me anonymous feedback about all aspects of the class experience and to make comments or suggestions. This process affords me the opportunity to evaluate my progress in meeting their needs and determine a change in class format, if necessary. (If any reader is interested in a copy of the evaluation form I have designed, click on this link and print out the page.)

Ultimately, finding and following your own path to becoming a better dance teacher is as personal as your dance style. For me, the path has included attending dance classes and seminars from numerous instructors as well as educational events from other disciplines to obtain the latest information that will most benefit my students. Let us, as creative dance teachers, not be tempted to follow the path of others, but to choose the path that will be personally rewarding as well as most useful to our students.

10 STEPS TO IMPROVEMENT

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by Margo Abdo O'Dell

No time for dance class? Too tired? No money? Bad weather? Don't want to go alone? If any of these ring true, there are daily activities you can employ to nudge you toward your dance and fitness goals. You might like one of these ideas:

1. Build cardiovascular endurance by taking extra steps each day. The more you move, the better. Take the stairs instead of the elevator, park further from the store, take yourself or the dog on longer walks.
2. Stand while on the phone and strengthen your abdominals. Push abdominals out then in. Repeat. Then push upper area out and in, lower area out and in. Repeat. Finally, alternate upper out, lower out, upper in, lower in. Smooth together in a roll.
3. Strengthen and isolate your gluteals by alternately squeezing each cheek while doing dishes, standing in line, even sitting. One result will be sharper hip movements.
4. Practice finger cymbal patterns by beating various rhythms on tables, desks, the steering wheel and in your head. Any 4/4 rhythm on the radio will work.
5. While watching TV, do neck stretches and head slides. Keep your shoulders steady as you tilt your head from side to side and turn your head from left to right.
6. Put your dance music on while doing housework and practice your movements as you dust, vacuum and scrub. You'll become more familiar with your music and might even come up with interesting new steps and combinations.
7. Instead of crossing your legs when sitting, roll up to the balls of your feet and back to the floor. Try one foot at a time, then point and flex each foot and circle your ankles.
8. Stretch your pectorals in a doorway or corner. Put your hands at shoulder height against the wall and keep your body straight as you lean into the wall and then away.
9. Heel raises on the floor or a step are great for the difficult to develop calf muscles.
10. Check your posture by looking in the mirror. Experts say your ear, shoulder, hip and knee should all be aligned. Practice good posture every chance you get.

CONDITIONING FOR MIDDLE EASTERN DANCE

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by Margo Abdo O'Dell

Middle Eastern dancers are fortunate. The technique is based largely on movements which are kinder and gentler to the body than other dance forms. It is therefore more likely for a Middle Eastern dancer to enjoy greater career longevity than ballet or modern dancers, for example. As Rakia Hassan mentioned in a recent interview, performers possessing audience pleasing technique, refined stage skills and physical appeal will continue to be in demand, regardless of their age.₍₁₎

Physical fitness, an area not often addressed in dance class, can positively contribute to a dancers longevity. Physical fitness is generally described as enhanced quality of life resulting from the body working efficiently, and being able to participate in routine and recreational activities without undue fatigue.₍₂₎ The major health related components ascribed to physical fitness are cardiovascular endurance, flexibility, muscular toning and body composition. These components are not necessarily related to the motor skills of a dancer such as coordination, balance and agility as it is possible for a highly skilled person to have a low level of physical fitness and vice versa. Yet these components of physical fitness do complement the various skills and abilities attained in Middle Eastern dance training.

Cardiovascular endurance is the ability of the heart, lungs and blood vessels to deliver oxygen and nutrients to working muscles and tissues during sustained exercise and to remove waste products that lead to fatigue. When the heart is exercised, it's new strength pumps more blood through the body with less effort and provides more energy. This endurance allows dancers to perform lengthy shows without exhaustion. Middle Eastern dance, or any aerobic activity, (such as walking, biking, swimming, jogging, etc.) improves cardiovascular fitness if three criteria are met:  1) Dance/exercise three times a week with no more than two days of rest between sessions;  2) Achieve your "target" heart rate. Generally, this is when you are somewhat out of breath and sweating. To find your approximate target heart rate, subtract your age from 220 and multiply the answer by 60% and by 80%. Then, when dancing or exercising, count your heartbeats by taking your wrist or neck pulse for 15 seconds and multiply the count by four. It should fall within your calculated range;  3) Keep the heart rate in the target zone for a minimum of 20 minutes without resting.₍₃₎

Flexibility, is the ability of muscles, tendons and ligaments to move joints through their normal full range of motion. Flexibility can provide the first line of defense against injury, providing the musculature has not stretched beyond it's ability to stabilize the joint. Flexibility is joint specific and may be limited by age, previous injury (scar tissue), gender, musculotendonous attachments or muscular coordination. Only muscles should be manipulated to increase flexibility and stretching is safer and more effective when muscles are warm and the individual is mentally relaxed, typically at the end of a workout or dance class. Performers and instructors should be aware of using a balance of stretches for key muscle groups (ex. stretching the quadriceps and hamstrings provides a balance for the upper leg); areas more commonly tight (ex. pectorals can be tight due to hunching over a desk or computer for extended periods), muscles emphasized in Middle Eastern dance (ex. calf, shoulder and back muscles, to name a few), and areas more prone to injury (ex. Achilles, rotator cuff). Ideally, stretches should be held for up to 30 seconds.₍₄₎

Muscles need to be toned as well as stretched. Specific musculature for Middle Eastern dance is developed through the activity of dance. However, muscles can become stronger through resistance training. Resistance training develops strength greater than what is required in dance class or performance in order to prevent injury and abuse of musculature as well as to enhance facility of movement. There are two components to muscular toning:

Muscular strength is the maximum amount of force that a muscle can exert in a single effort. Asking a muscle to lift more weight than it is used to forces the muscle to become stronger and increasing the weight of the resisting force over time can increase the size of the muscles doing the resisting. The weight can be your own body weight, as in push-ups or leg lifts, or external weights. Good posture, as an example, is partially a function of muscular strength. In many people, there is an imbalance between the front and rear shoulder muscles resulting in rounded shoulders. Correcting this problem involves strengthening the upper back and rear shoulder region while stretching the chest. Correction of rounded shoulders is not just important for aesthetic reasons, but can also be important in eliminating problems resulting from improper shoulder mechanics, such as tendinitis. Developing the necessary strength and flexibility to attain and maintain good posture has benefits for dance as well as daily living.

Muscular endurance, on the other hand, is the length of time a given muscular force can be sustained or how many repetitions it can make against resistance. For example, muscular endurance is necessary for dancers to sustain energetically extended arms throughout a performance and develop legs resistant to fatigue. Endurance building exercises alternate periods of exertion with recovery periods, gradually increasing the number of times you increase the exertion. Current research stresses that resistance training, twice a week, throughout our lives will have substantial long term, as well as short term benefits.₍₅₎

Finally, body composition refers to the makeup of the body in terms of lean body mass and body fat. Lean body mass is everything excluding fatty tissue: muscles, bones, nerves, skin and organs. Essential body fat is necessary for the body to function and constitutes about 12% of total body fat in women and about 3% in men. Generally, women are considered over fat when body fat exceeds 25% of their total weight and men when body fat exceeds 20% of their total weight. How much we weigh is not as important as the percentage of lean body mass and fat mass relative to our total weight. Muscle weighs more than fat, so it is possible to gain weight as you become more physically fit. However, muscle is denser than fat, so as you gain muscle and lose fat, your jeans become baggier and you have to alter your costumes!

Achieving and maintaining physical fitness is as challenging as working to improve overall dance proficiency. Yet the physical and psychological rewards are significant and continue to grow as individuals age. To net it out, dancers who are physically fit can enjoy strengthened hearts and bodies, improved quality of life and extended years of dance.

(1) Conversation with Rakia Hassan, February 18, 1996, Minneapolis, MN.
(2) American Council on Exercise, Aerobics Instructor Manual, Reebok Press, 1993.
(3) In Shape, Make Exercise Work For You, Minneapolis, MN, 1995.
(4) Thompson, Sue, M.S., Muscles in Motion, The Stretching Seminar, Fitness and Aging, lectures at Minneapolis in Motion, 1995.
(5) Fairview Healthwise, Whole Body Fitness, Minneapolis, MN, 1992.
Article Consultant: Lu Herbeck, Training Director, Northwest Health Clubs, ACE, AFAA, NDEITA, NHS, NST

Test Your Knowledge with 25 Questions

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by Margo Abdo O'Dell

1) Match the instrument with it's description:

2) Match the term for finger cymbals with it's country of origin:

3) Cane dancing is popular in Arab countries. It is called:

4) Who of the following was a well-known female vocalist in Egypt?

5) Which of the following is NOT a musical instrument?

6) What was the real name of the belly dancer who became famous as "Little Egypt" at the Chicago Worlds Fair in 1893?

7) Little Egypt also:

8) Debke is a folkloric dance that is performed in:

9) The largest city in Egypt is:

10) How many pyramids are located on the Giza Plateau?

11) The prefix "al" that comes before many Arabic proper nouns, including the names of a number of cities, means:

12) Which of the following can help to prevent "The Evil Eye"?

13) What is Mezza?

14) What is Khan el Khalili?

15) Only one of the following dance techniques is likely to be used by a dancer in a modern Egyptian nightclub. Which is it?

16) Select an originator of the National Folkloric Troupe of Egypt?

17) Which of the following countries was influenced by The Reda Troupe to form a national folkloric group of it's own:

18) What is the Caracalla Ballet?

19) Where is the international Baalbeck Festival?

20) What is the Rosetta Stone?

21) Which of the following countries does NOT have Arabic as it's first language:

22) What is karsilkar?

23) Which of the following IS the Turkish 9/8 rhythm?

24) Which Egyptian dancer(s) appeared in film?

25) Who was a famous sala owner, performer and is often credited as having introduced diaphanous floating veils into Egyptian dance?

Answers:

A WEEKEND WITH FATEN SALAMA - Beneath the Hype

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By Margo Abdo O'Dell

Marketing, advertising, branding, messaging are all elements of good business. The more we hear about it, read about it, and see images of it, the more it becomes ingrained and we begin to believe it. Whether it's a little purple pill, weapons of mass destruction or a dance super star. If you encounter the message often enough, it becomes true - whether it really is or not. Good marketing = good business. Well, you know, it just isn't applicable when it comes to art. And the proof I have for that statement is Faten Salama. http://www.fatensalama.info

Her name isn't plastered in print or on-line. Her images aren't readily recognized. And many dancers who attended the April workshop I sponsored featuring Faten admitted they hadn't even heard of her until they read my flyer. Maybe you haven't heard of her either.

She doesn't have a well-honed American marketing machine behind her. Although, if anyone deserves to have one, she does. Like a lot of dancers, she has another profession to help pay the bills. She teaches Americans to speak, read and write Arabic. And so, her time is limited for self-promotion. But let me say this loud and clear, Faten Salama is the real deal and she proved it to me in living color.

Talk about great things coming in small packages. Over the weekend, Faten taught a day of folkloric dance and a day of oriental dance. Students sweated through hagallah and saidi movements and combinations on Saturday and a lyrical, intriguing oriental choreography on Sunday. Many workshop attendees commented on her wonderful teaching skills. As a Middle Eastern dance aficionado, I would have felt satiated attending these two days of classes, but then came the Saturday evening show.

When Faten performed, the audience was treated to a Cairo show. All the elements were there, except the live orchestra. To my delight, Faten didn't rely on a string of repetitive pop songs or repetitive movements. Her folkloric and sharki sets were equally as compelling, interesting and full of her unique energy and personality. She dances with seamless perfection honed from a lifetime devoted to dance. For dancers paying attention that weekend, they were the recipients of some of the best our global dance community has to offer.

A final few words to the wise - be diligent as a student and consumer. Do your homework and know who is standing in front of you in a dance class or workshop. If you desire authenticity, creativity and passion, please dig beneath the hype. It's worth your time, energy and money. And honestly, you owe it to yourself.

RAKIA HASSAN: the visionary, the emissary

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By Margo Abdo O'Dell

Rakia Hassan is a woman on a mission; an extremely serious woman on a lifelong mission. Her business card says Dance Trainer, but that moniker only begins to tell her story.

Rakia has trained many Egyptian oriental dance stars. Retired artists such as Aza Sharif and Mona Said, experienced dancers including Fifi Abdo and Dina, and younger performers such as Nani and Amani have sought out the talents of this dance trainer. Rakia was involved with Egyptian folkloric dance for thirty years and for the last eighteen years has been involved with oriental dance. It is to the oriental style that she now devotes herself, because as she says, "It is in my blood."

I was fortunate to spend time with her in Minneapolis on February 17-18, 1996 during her second U.S.A. tour. Approximately sixty-five dancers participated in Rakia's class on Saturday and forty on Sunday at The Cassandra School. Some drove up to twelve hours in a Midwestern winter to be part of this experience. Our evening conversation began with a group of dancers gathered after classes were completed. We sipped wine, nibbled appetizers and reveled in the informality of conversation with a master. We inquired about famous dancers of whom we have seen and heard and she amused us with savory stories from behind the scenes. No question or topic was off limits. I then took Rakia back to her hotel where we talked until 1:00 A.M. I found her to be refreshingly unpretentious, earnest in her convictions, and a straight forward thinker and talker.

Part of Rakia's mission is education about the Egyptian oriental style. Frustrated by what has been called oriental, she recalled a few incidents that were of particular concern. An American dancer came to Rakia for lessons and put a sword on her head when demonstrating her technique. Rakia asked why and the dancer responded that she saw a picture of a dancer with a sword and thought it was Egyptian. Rakia told her it is not. Another example about which she is adamant is dancing with snakes. "Why do they do this?" Rakia rhetorically asked in an excited tone. "This is not oriental, this is [performed in the] circus." She shook her head in disapproval. Rakia does not fault the dancers, necessarily, recognizing many do not receive correct information and are quick to believe what they read in books or see in pictures. But Rakia wants to set the record straight and hopes dancers want to learn the truth.

She is a purist not interested in dance fusion because it distorts the truth about oriental. She asked another dancer studying with her in Cairo, "Why do you put Indian [style] with Oriental? If you want to dance Indian, dance Indian. Don't make something mixed and tell the people this is oriental." Rakia wants dancers to come to Egypt and see the truth, but acknowledges that it is an expensive education and it does not guarantee the dance will be correctly represented. Unfortunately, she has witnessed first hand the dancers who have come to Egypt yet continue to believe and teach their own interpretation (or fantasy) of what is Egyptian oriental dance.

In contrast to the Egyptian oriental style, Rakia describes the American style she has seen as very fast. "When I go to see a dancer, she must make me relaxed..... The dance is not about how much you push, but about how much you feel......Some of the [American] dancers move so much, they make me crazy!" However, she has found the technique of American dancers improved since her last tour, but believes feeling for the dance could be enhanced by being around Egyptian people and by constantly listening to Arabic music.

To further her mission of dance education, Rakia will be publishing Diamond of the Nile, the first belly dance magazine of the Middle East. It will first be printed in English and German, later in Arabic. The magazine will include articles written by Egyptian historians and journalists. Since most of our historical knowledge of Egyptian dancers ends with Tahia Carioca and Samia Gamal, Rakia wants to teach us about other great dancers, such as Zenait Olwi, who were not so famous. She also wants to clear up misconceptions about pharonic dance and will include information interpreting pharonic pictures and their relationship (or lack of relationship) to oriental dance. Each issue will include a current song on the market with the English translation. Rakia hopes that understanding the meaning of the songs will help dancers incorporate more feeling into their performances.

Rakia is a professional intent on improvement. You could see that in her enhanced presentation since last years tour. Not only has her English improved (though I did not find it a problem last year), she broke down steps, repeated phrases and gave more individual feedback. She was quick to understand and adapt her teaching to her audience's learning style. Her commitment to and style of teaching is best described in her own words. "I have only my work. When I teach you, I am not a teacher, I dance with you. And I don't look at myself in the mirror, I look at everyone. I like to work so hard. I don't leave this class before I put myself inside it." She also described herself as a student, picking up new ideas and movements from dancers at the smaller clubs in Egypt as well as from Flamenco performances. "When I stop learning, I am finished."

The choreographies presented on this tour were signaturely Rakia: playful, intricate, and challenging. For dancers who took class from Rakia before, there was exciting new material. For new students, they were able to select a few steps to work on without becoming overwhelmed. Each time Rakia danced her choreographies, she did so with enthusiasm for the dance and the music. Each step was meticulously choreographed, but not her facial expressions. Her expressions are wired to the feeling for the music, not the details of the movement. They are ever changing, not the superficial smile of an entertainer trying too hard to please. That is genuine. Though not an Egyptian style purist (I am Lebanese and influenced by a variety of styles), I am a middle eastern dance performer, teacher and student very anxious to incorporate what I learned from Rakia into my repertoire. Comments were made, and I agreed, that some of the technique is too demanding on knees and low back, and her method of warm-up and lack of stretching a problem. But we need not look to Rakia for attention to body mechanics. We are capable on our own or with assistance from local dance teachers to make needed modifications. It is Rakia we should be pursuing for her unique modern Egyptian style, musical phrasing and choreographic genius.

The three choreographies taught on tour (plus more) are available in her 1996 Grand Tour Workshop video, taped at the Los Angeles workshop and her first Oriental Dance Technique video, taped in Egypt. The 90 minute workshop video presents Rakia teaching three choreographies: Ghalbi Mala (What Happened to My Heart), Malaya, and Enta Omri (You are My Life). The 45 minute technique video includes technical instruction and two of her dances: Kalm El Nass (Words of the People) and Enta Min (Who are You?). Ideally, she would like to produce a new technique video every six months, all of which will be available from Turquoise International.

Rakia's focus for the near future will be at home. Though teaching is paramount, she says this may be her last U.S. visit for awhile. It is not for lack of interest on her part or for lack of seminar attendees, but because she is upset with politics she experienced that left her with negative feelings about returning soon. She will also be quite busy. In addition to the technique videos and publication of the Diamond of the Nile, her aggressive plans include opening a dance studio within a year (en-shallah). She believes the environment is good for that now. And it is possible that Mona Said, Nadia Hamdi or Aida Nor will also teach at the studio as well as other master teachers whom Rakia will train.

As we discussed the evolution of oriental dance outside Egypt, Rakia spoke about her appreciation and respect for Ibrahim Farrah. She believes Mr. Farrah introduced oriental dance to the United States and Europe. Now she wants to bring him to Egypt and tell the people that this Lebanese man has accomplished so much for the dance. Rakia believes if it was not for Mr. Farrah's dedication over the years, she would not have had the opportunity to teach in the U.S. She hopes to create a significant dance festival in Egypt and wants him to be there to teach classes. "Ibrahim is an artist," says Rakia, "the dancers must know him."

My weekend with Rakia convinced me that the future of oriental dance is brighter with with such a star helping to guide the way. She is an individual who walks her talk. An Egyptian woman, traveling and teaching outside her country, she is breaking down barriers of sex stereotype; funneling her talents and energies into the creation of learning tools, she is breaking down barriers of understanding; her very nature, warm, approachable, ungoverned by ego, she is breaking down the human barrier. Putting teacher aside student, Egyptian culture aside American, Rakia paves the way to receptivity of her mission.

SHIMMYING BENEATH THE HAGEB: Reflections on a weekend with Nadia Hamdi

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by Margo Abdo O'Dell

"I want to share the beauty of the dance with everyone," responded Nadia Hamdi when asked what she wanted to teach her students on her second American tour. She was overwhelmed with the enthusiasm she saw during her 1995 tour and wanted to give more to the American students who love Oriental Dance.

Nadia Hamdi has a peculiar effect on me. As soon as she begins to dance, I begin to cry. Partly due to nostalgia as I reflect back to her spectaular peformance I watched in Cairo in 1982, and partly due to the unmistakable love for the dance that sparkles across her beautiful face when she performs. It is as though I detect her personal release as she is allowed to do what she loves without the constraints of a conservative society. Nadia's final decision to give up public performances in Cairo came in response to her son's requests. He received much ridicule from fellow students and to alleviate his discomfort, she acquiesced. After understanding her reasons for retirement, I overheard one seminar participant remark, "What a mother won't do for her child." And when you see and hear Nadia speak of her only child, even though it is in Arabic, you also feel and understand her total maternal love and devotion.

We spent a weekend together in Gainesville, Florida in April, 1997 while she was on tour. Nadia reminisced about her favorite performing memories at the Nile Hilton. She danced there seven nights a week for seven years. It had a roomy stage, the management respected her art and the audiences loved her. She has an open invitation to return any time even though she gave up her dance license in 1993 and limits her dance activities in Egypt to private and group classes.

Nadia also appeared on television and in movies. She remembered a Gypsy film she was in when very young, making two films in Damascus and also performing her famous Shamedan in a film entitled "El Mogram" ("The Gangster").

Her favorite dancers include Nabawiya Mustapha, who Nadia calls a real artist, Samia Gamal, Tahiya Carioca, Nagwa Fuad and her own mother and grandmother. Today she enjoys watching Fifi Abdo and Lucy and thinks that Amany will be a very good dancer when she gains more experience. She doesn't care much for the performers who rely too much on audience participation.

I asked Nadia what type of show she would do if performing in Cairo today. She replied that the Egyptians love the Candelabrum and Milaya - two dances from a long time ago. She would choose Hassan Abu Seoud as her composer and accordion player. He is a boyhood friend of her husband and the son of Ali Abu Seoud. He sometimes played for her in Cairo and traveled with her to Europe. (As an aside, I recently watched a video of Nadia performing in 1983 at a Lebanese owned restaurant called Yal Dizlar, on The Champs D'Lysee. For those of you who have seen this video, Nadia is wearing an orange oriental costume, Hassan Abu Seoud is playing accordion and Ahmad al Adawiyya is singing). Nadia enjoys a lot of the modern music but also loves the classical. Some of her favorite songs from the past come from Om Khoulthoum, Mohammed Abdel Wahab (her husband's late brother), Farid el Atrash and Mohammed Fouzy (whose music Samia Gamal also used). One of the choreographies taught on this tour was to a song entitled "Ana Hoh" ("I Am Here") sung by Hassan el Asmar. She chose "Ana Hoh" after hearing it many times on the radio. It was a song she liked and knew she could create a dance with it. I mentioned to her that the choreography was less complex than the choreography she taught to "Mashaal" in 1995. The reasoning was twofold. "Ana Hoh" is a modern song and the music is less complex, so the steps she used were also less complex. Also, she felt more people would be able to remember and execute a simpler choreography.

Nadia has been working for a few years with a protege from California named Tamerhenna. This dancer expressed interest in Nadia's style and in learning the Shemadan. She has talent and a willingness to work hard. And so, Nadia helped her get a license and some work. But it is not easy to get a license as a dancer in Egypt. You must be a citizen of Egypt or married to one, so all the foreigners working legitimately now have at least "paper marriages", and are bound by the Egyptian laws surrounding marriage. That means your "husband" can revoke your right to work/perform at any time and/or prevent you from traveling anywhere, including back home.

Nadia Hamdi opened the show in Gainesville with Raks al Assaya (Cane Dance). Her blue beledi dress and accessories were made by Madame Hekmet, who made all of her costumes for this tour. She was a sight to behold down to the detail of her chin adorned with blue tattoo marks. A few moments before she went on stage, she politely complained to me that the cane she was given to use was not heavy enough. She was distressed as she paced around the dressing room. I mentioned this to Morocco who then gave Nadia her own cane to use. With no time to practice, Nadia the professional made it look like this cane had been with her forever. She danced to "Ya Laylet Magani el Ghrali" or "My Beloved Comes to Me in the Evening." It is sung by Mohammed Roozhdy and the dance was choreographed by her husband, Sallah.

Nadia's Shemadan Dance (Candelabrum) closed the first half of the show. The song written for her, "Nadia and Her Shamadan" is sung by Fatim Serhani with Hamidou on accordion. To me, watching Nadia do Shemadan is like watching a piece of history. She closed the show with a Danse Orientale comprised of a portion of "Princess of Cairo," nay taxim, "Ana Hoh," accordion taxim, and the finale from "Princess of Cairo." All of her signature movements were there and new ones to draw the audience further into her artistic, yet playful world.

For those struggling with what "authentic" means in Middle Eastern dance, there was no dispute here. I told some of my students that if they did not remember one step or combination she teaches, it will not matter. It is what one feels by watching her perform that makes her Nadia and provides insight into Egyptian oriental and folkloric dance.

Nadia explained that she wears the hageb whenever she is in public but relaxes in a gallibya or pantaloons and oversized blouse when at home. She held the skirt of the black hageb while we were talking and said "I don't understand those people. The Koran doesn't talk about this. What is their problem?" She was speaking of pressures from fundamentalists in Egypt who are adamant about women not exposing or accentuating any part of their body. These are some of the pressures to which she succumbed in her decision to retire from performing in Egypt. From hageb to Oriental costume, it was a remarkable transformation. And of the many times I have dressed before a performance, this was the most memorable - Nadia Hamdi preparing to perform in the same show, in the same dressing room.

As we waited backstage, she put my hand on her heart to show me how nervous she was. This surprised me, but I then realized she desperately wanted to give people a wonderful performance and she prayed for it, as well. As we paced and shimmied to keep ourselves warm, Nadia would do a move and then tell me to do it. Talk about getting nervous - Nadia teaching me new moves moments before I go on stage. But it was all in good fun. If I had difficulty with the movement, she would place my hands on her so I could feel it. I asked her do the same in class the next day, knowing it would be a thrill for everyone to depart from the structured choreography and play for a while.

She hugged me before I went onstage and when I finished. I performed my own choreography to "Mashaal," which was inspired by her visit to the states in 1995 and was my personal tribute to her. She whispered in my ear, "Very different, but very good." Yes, I have died and gone to heaven!

Nadia mingled with the students and communicated as best she could. She was encouraging to all performers, clapping and zaghareeting as she watched them from the audience and offering words of encouragement before they went on stage. As we strolled the vendor tables together, I swooned over a purple costume. Telling her I couldn't afford it, she looked me in the eyes and told me to sell an old costume to afford a new one. "It is necessary to have new costumes, yes?" she asked rhetorically. She commented that a dancers costume is half of the performance and her dancing the other half. As we continued "window shopping," she offered opinions on what were good colors for the stage and what costumes she liked and disliked. It was like spending time with a good friend.

During Nadia's first tour to the United States in 1995, it was of great importance to be seen and remembered as an "artist." That meant not only performing choreography, but also improvising. In Madison, Wisconsin in 1995, she did not request specific music from the band. She told them to play whatever they liked and proceeded to show us what she meant by "artist" and showmanship, I might add. Her 1997 tour has only emphasized her stature as one of the best Egyptian performers and Oriental Dance artists.

LOVE THE DANCE AND IT WILL LOVE YOU
An interview with Aida Nour and Magdy El-Leisy

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by Margo Abdo O'Dell
Copyright, 2005

Two Egyptian stars, performing since they were children, discussed their careers and dreams as we sat in a hotel room in Dallas, Texas on February 3, 2005. Aida Nour traveled from Egypt and Magdy El-Leisy from Germany to be Little Egypt's headliners for the weekend. From Friday to Sunday, Magdy and Aida shared their rich reservoir of knowledge in both oriental and folkloric workshops and performances. It was an honor to interview these two powerhouses as well as share the stage with them in the Saturday night show.

As I posed questions, they listened to each other's response, discussed and sometimes argued the fine points of teaching Arabic dance.

When did it begin for these two artists?

Aida Nour has enjoyed dance since she was able to talk. At the age of 13, she joined an Alexandrian folkloric group and stayed with them for five years. Then she joined the Reda Troupe in Cairo and performed with them from 1975-1981. Her only son was born in 1981. After his birth, until 1996, she was a solo dancer in Cairo and also in the gulf countries for three years. She was barely in her forties when she quit performing, and so I asked why she retired at an age when many dancers are just hitting their prime. She said she wanted to retire while she was at the top of her profession, still dancing and looking good. That way, people will always remember her in the most positive light.

Magdy El-Leisy began his classical training at the age of nine. By the time he was eleven, he was already participating in performances at the Cairo Opera. He was then engaged in the Egyptian National Ballet of Cairo until 1976 when he joined the National Ballet of Iran in Teheran. He left Iran because of the revolutionary disturbances and went to Germany where he performed with several companies. In 1994, he stopped his career in ballet to devote himself to oriental dance. He has danced Egyptian folklore with many well-known artists including Nagwa Fuad and has traveled to many Arabic and European countries with the Egyptian folklore troupe of Kamal Naim.

Both artists are teaching and performing worldwide. Aida just returned from Moscow and Magdy showed me a poster from a recent appearance in Sydney, Australia. In their weekend workshops in Dallas, their passion, patience and professionalism was evident. While Aida's teaching style is serious, Magdy is forever the comic. Both styles are effective; both teachers are giving of their knowledge.

Neither is surprised at the popularity of oriental dance around the world. Aida believes that oriental comes from the heart and it touches the heart. It is an art form that will never fade like other dance fads have faded.

Magdy sees that women around the world want to get back to their femininity. He sees women living in fast paced societies, working hard, doing what men do and needing to go back to who they are as women. This dance shows them how to do that.

I asked how foreign dancers could acquire the oriental "feeling" that is so important for the dance, and a discussion ensued.

Aida defined "feeling" as the harmony between one's body and the music. She said that feeling is not learned, but rather, you are born with it. She believes Arabic children can grow up to be great dancers because a lot has to do with frequently hearing the music and understanding the language. On the other hand, she said she has seen many American dancers who have acquired the oriental feeling.

Magdy wants people to take the dance as a culture not just movement. He cautioned against only studying oriental technique, and encouraged study of folkloric dance as well. He believes foreign teachers must study and teach cultural information, rhythms, and a little about the language so they know what a song is about. It is also important to go to Egypt and be around the people. This advice, he says, will help foreign dancers acquire "feeling" for the dance.

Where will they go from here?

Aida's future plans include teaching, coaching, lecturing and costume design. And to the delight of the dancers gathered in Dallas, she brought several of her stunning, contemporary designs with her.

Magdy dreams of a professional group that tours worldwide. He wants to create a big show as universally appealing to audiences as ballet and opera. He says the art form is not widely appreciated because it isn't exciting enough or professional enough for the average person. He believes attention to detail, such as lights, choreography, costuming, technique, music, décor, i.e., the full theatrical trappings is what is needed.

And he is certainly a man with enough energy to achieve his dream. Whether he is teaching or performing, his energy is boundless. And you can't help but commenting on it. He says it comes from students and audiences. If he is tired from teaching long hours, for example, yet sees students interested in the class content, it gives him unlimited energy to continue.

As our conversation came to an end, Aida and Magdy said they are thankful their art and culture is of interest to dancers around the globe. They approach their art out of love, rather than fame or money, and hope others do, as well. Their advice to all is "Love the dance and it will love you."

Special thanks to DeeDee and Ahmad Asad for organizing the event and daughter Nora for helping with translation. Little Egypt's website is www.littleegypt.com; Aida Nour's website is www.welcome.to/aidanour; Magdy El-Leisy's website is www.magdy-und-azza.com