Serena Ramzy

1.    Why did you start Raqs Sharqi?

I have always loved dancing ... I fell in love with Egyptian  dance and the music at a very early age and this dance seems to hook people for life!!! Once I got into it, the interest just grew and I took it further and further then. It is a beautiful and soulful art form and very specialised for women and a dance that celebrates women as they are.  

2.    What is the most important thing to do when we dance in public?

Well, there are many important things  of course but, when dancing to a public I believe the most important thing is to dance the music for THEM. The public love to be offered such artistic expression and appreciate the sharing , not only demonstration.

3.    Could you tell about your Raqs Sharqi style?

Well... I dance the music as I understand it and feel it. According with the principle of translation the music, the philosophy Hossam developed of E=E and according to his article “Drumming 4 Dancers” on our website at this link: http://www.hossamramzy.com/dance/drumming4dancers.htm   

I dance what I hear from the music and translate it into movement as I feel appropriate.

This is what dancing is, for me. And the style will change as the music changes...

4.    Could you tell about the relationship between Raqs Sharqi and your background?

I entered the world of dance at about 5 or 6 years old when I started ballet and Jazz classes. I then got introduced to belly dance at the age of 8 through my sister Karima, she was already a professional Belly dancer at the time and with that I had a very close contact with the Belly Dance World that was just starting in Sao Paulo, Brazil. I started to perform professionally in 1991 at the age of 15, and have not stopped till now, 20 years later.

5.    Could you give some advice for Raqs Sharqi dancers?

Listen to the music, understand  your body, study the culture , be who You are and from wherever you are from, be ethical and honest. These are the priorities, then create your own game and play it. The least what will happen is that you will have some fun.

6.    Who is your ideal dancer? Why do you like the dancer?

My favorite dancer of all times is Naima Akef, for her subtlety and grace, together with the precision and control of her technique , and for her simplicity in presentation, and  the complexity and depth of her musical understanding. She makes watching dance enjoyable not intimidating.

7.    What is your future plan with Raqs Sharqi?

My plan is to continue educating dancers and to continue to dance and create artistic presentations that contribute to the raising the profile of the dance. We are touring the world at the moment doing just that and we plan to continue to do so. We also have a course in our School in The UK that produces professional dancers and instructors who can teach others the same philosophy and we to have many dancers graduating from it. The results of the course have been astounding and  we very much intend to bring it to the rest of the world. We welcome students from all over the world.

8.    What is the most important thing to create choreography?

To Know your music and be able to analyze it. Once you understand what is required of you from the music you can then add the movements you would like to use to translate each sound.  Understanding the layers of the music will facilitate the process of choreographing a lot. When you know what is asked of you , is easier to respond correctly.

9.    How and/or with whom do you train?

I train by myself. I have help and guidance from Hossam in the music interpretation understanding and cultural and musical background. I work mostly by myself and get much inspiration from the Golden era Dancers and learn a lot from them. I take ballet classes next to my Egyptian dance training and I love jogging!

10.    As a dancer, what special methods, or daily routines (beauty products, massage, etc.) do you use to maintain your beauty?

I would love to have a daily routine, but my touring schedule does not always allow me to have one. However, whenever I can, I like to wake up and go jogging for 30minutes then do ballet/Pilates for 1hr and then dace for another hour or 2. I think massages are the best thing for a full time dancer. It is the reward back to the body after using the body so much!

11.( Raqs Sharqi is said to be more relaxing and stress-free than other dances) which part of Raqs Sharqi is most relaxing for you?

Yes, I agree to some degree. Drum solos are not necessary relaxing or less demanding than any other style to dance. But the relaxing side of it as the fluid motions and the fact that you dance and get your mid into the dancing and nothing else. This is the most relaxing thing for me. To listen to a sound and just respond to it and not think of anything else is quite magic. 

12. What suggestions do you have to make the belly dancing community grow? How do you think we can turn belly dancing into an industry? 

I am not sure we should make belly dance into a industry. We can bring it to a higher status and positioning in the world of dance, but I like to think that we are dealing with an art form , not only a product to sell in mass and become in industry.  We can grow as a community but working as community and educating the community and grow stronger as a group.

【Related Article】

• Hossam Ramzy
• Your Idea = RaqsART (Hossam Ramzy's Answer)

[Your Idea = RaqsART] RaqsART asked your questions to Hossam Ramzy!

RaqsART is a place for belly dancers to share and create information with other dancers all over the world about events, performances, dancers; just about anything related to belly dancing. Our goal is to create the most interactive and extensive belly dancing community to bring international fans together.

One dancer on RaqsART facebook community asked a question about Hossam Ramzy's interview article. I immediately asked Mr. Ramzy the question, and he gave me the answer which is attached below.

Where do zils fit into his teaching? If the dancer is a 3D representation of the music and only responding to the music, surely they should not be making music... just wondering.

Basically, yes, of course, the dancer should be translating the music and is meant to be the final instrument that translates the music to her audience. The "Zills" ar a prop, and addition, an attraction to grab the attention of the audience... but it is not the dancing. It is a tool for making the audience look at a dancer, but this is not what keeps them interested... it is the translating of the music that keeps them there for you.... not the noise.

Hossam Ramzy

1. How would you go about learning rhythm as a dancer? And as a musician/drummer?

This is exactly what I teach at our Drumzy School of Music & Dance in the UK and around the world.　This subject is very close to my heart as I feel that the main reason our beloved dance is stagnating and the artists within our art form are having to resort to all sorts of deviations that result in disrespect of the dancer and the dance itself. The examples are many and I need not explain it here.

However, the answer is, as a DANCER, you start by listening and identifying the rhythms from the music. The dancer should be taught to tap our the rhythms in a simple format on a drum with no technicality which will help her identify these rhythms.

If you start to learn Flamenco or Indian Kathak, you are expected to fully learn the rhythms and understand all the rhythmic syllables before you even start learning the moves. But this is because the teachers and instructors know what they are teaching and are experienced in the science of their art forms.　

However, I know that this is not the case in the art of Belly Dance and this is what Serena and I are coming to your country with the wish to teach this to the dancers.

As for musicians and drummers, then they will need to study how to play a drum and learn the rhythms from that.

2. Would you recommend learning a series of different rhythms (and in what order)?

I have developed a series of related rhythms that flow from a root all the to the branches of those rhythms and I called them “THE TREES OF RHYTHM”.

3. What is the best way to go about learning rhythms specific to belly dance?

By learning the rhythms of Belly Dance. I have created a double CD specifically for this subject called Rhythms of The Nile” EUCD 1427 available from my website www.hossamramzy.com .

In this album, I speak and explain the instruments, rhythms and the second part of the album is dedicated to teaching how to play the instruments too. There is a transcript of everything I say on the album in four languages.

4. What is the most common error dancer make when trying to move to drum solos?

The main error would be “Not repeating your moves 4 times” each time you do a new step.

5.What should a dancer be careful about while trying to match their rhythm to that of belly dance?

They have to pay very close attention to time keeping and ensure that they do not over translate the rhythm or the music and not under translate the rhythm or music.

6. What do you expect of a dancer while you play the rhythm?

This is thoroughly explained in my article “Drumming 4 Dancers”.

7. What signals are used between drummers and dancers when a change in tempo or rhythm is wanted?

There should NEVER be a change of tempo. Unless it is designed, understood, rehearsed and practiced between dancer and orchestra as well as between dancer and drummer.

There seems to be this false information, perpetuated by the uninformed instructors who are damaging this art form, that there is a sign to show your drummer or musician to change tempo or to change rhythm.

This is false, this is not true and this should not be used in dance performances.

If you watch a Ballet, you will never see this between dancer and orchestra.
If you watch a Flamenco Tablao... you will never see this between dancer and band..
Same if you watch an Indian Kathak dance performance.

What makes anyone think this can be in Egyptian dance.

Have you watched Nagua Fouad, Mona El Said, Soheir Zaki, Namima Akef, Zeinat Oloui or any of the true Super Stars of Egyptian Dance live with their bands? You will never see such a thing ever take place.

I guess that the answer to your question is ... NO, there aren’t any signs.

8. Is it possible for a group to dance to improvised drum solos and hit the accents?

Dancing to an improvised drum solo will have to follow the rules I gave in my article “Drumming 4 Dancers”.

But to do this by a group, then you will be opening the door to many miss interpretations. Such drum solos may be organized for a group, but a proper routine must be learned and rehearsed between them all, or it will look like a mess.

9. When collaborating with a belly dancer for a performance, what do you look for in both the dancer and in the musical presentation?

I make sure that both dancer and orchestra understand the article “Drumming 4 Dancers”.

And that the dancer knows how to translate the music according to this article. Then we discuss the emotional content of the music, how it going to be portrayed and why.... then we start rehearsing, trying, making mistakes, correcting, agreeing, disagreeing and working out a vision we want to present.

When all above is agreed, then we rehearse and practice this agreed upon results and we perfect it each time we perform it.

For us, a Belly Dance performance is a sacred as a symphony orchestra’s performance.

We work hard at them all.

Maki (Bellydance Evolution Cast Special)

1. Could you tell us about the competition to be a cast of Bellydance Evolution?

To enter the competition, it was pretty straightforward. Once to you sign up and pay the entrance fee, we had to learn a choreography from Jillina from a video clip they send you. Then you had to submit a video of yourself dancing the choreography along with a clip of you doing your own dance. Once you submit these videos and upload them onto the Bellydance Evolution site, your competition submission is complete. People who visit the site and view the videos can vote on the videos of the contestants they like and rate them. The contestant with the most votes got the People’s Choice award. Then, the tough part… you wait to hear if Jillina has selected you to be part of Bellydance Evolution!

My strategy was to show Jillina that I could dance her style and also bring something interesting to the table. I tried to dance her choreography with her stylization and her technique as much as possible and then show her my style in my section. I think being versatile and showing you have the potential to do anything she asks of you is key.

2. What is your strength as a cast of Bellydance Evolution?

I think my strengths are my work ethic and that I am a team player. The way I approached my experience was to try and enjoy it as much as possible and soak in every moment. Being cast in the show was a great experience and I loved dancing with a team of such professionals! We all understood that we were brought together to create a great show and to represent bellydance as best as possible. Because we all had this common goal and understanding we were able to put together an amazing show and gel together as a group in only 10 days. At the beginning, I wasn’t sure what the other girls were going to be like but Jillina and her Sahlala Dancers really set the tone of teamwork and inclusiveness from the beginning which carried through till the end. Since the show I was in was the one being filmed for the DVD, there was a little more pressure to deliver clean shows. This might have been one of the reasons that Jillina had cast many of her own dancers and dancers who have done the show before. Ziva (another contest winner) and I were the only brand new girls to the group so I felt like Jillina had put her faith into me so I had to step up and not disappoint!

3. Do you have any advice for dancers who will apply the competition of Bellydance Evolution?

Entering a competition is always a little nerve wracking because you are putting yourself out there. I always approach auditions and competitions the same way, I try my best and work hard but know that at the end of the day, if I didn’t get picked/win, it’s not the end of the world. I think you have to be realistic and accepting of whatever decision is made. It’s not my show, it’s not my production, Jillina has every right to choose who she sees fit. It takes someone who is a strong dancer of course but also someone who can pick up choreography quickly, adapt to changes, apply feedback quickly and can dance her style. Not getting picked isn’t necessarily a reflection of your dance ability but it just means you are not the right fit for this particular show. As this is a cast with many group dances, you have to be able to dance as one unit and understand you are part of a bigger picture. If you do get in, enjoy every moment, have fun and be ready to work hard!

【Related Article】

• Jillina Carlano
• Cristina Gadea (Bellydance Evolution Cast Special)
• Eshe (Bellydance Evolution Cast Special)
• Kasia (Bellydance Evolution Cast Special)

Kasia (Bellydance Evolution Cast Special)

1. Could you tell us about the competition to be a cast of Bellydance Evolution?

I had heard about it by chance from Irina Akulenko, who had already done the show. She had great things to say about it, so I got to thinking about doing it. I think it was in October that I learned the choreography online, from one of the OTHER contestants, before I even signed up for the competition, just for kicks. I wanted to see if I could learn it accurately and quickly from a mirror image video with no breakdown. It went well! so I think it was in December that I signed up, and having already learned the choreography, sent it in right away. I was hopeful, but decided to not think much about it, and when chosen, some panic did set in. Organizational-omg-now-what-do-I-do type panic? I had a bunch of things going on that I had scheduled for that time period, what with my ''don't think about it too much'' approach, that I had to re-organize. But then it all worked out.

2. What is your strength as a cast of Bellydance Evolution?

I would hope my strength is my bizarre Fusion Bellydance style, that I do not know what to call. Contemporary Fusion Bellydance, is a good description, I suppose. I hope that this aspect of my dancing can bring something interesting to the show as an entirety.

3. Do you have any advice for dancers who will apply the competition of Bellydance Evolution?

Learn the audition choreo well. Very clean arms and turns. If you do something neat and unique, show that in your personal section of the audition video. Be willing to work with everyone, work hard, don't complain or make excuses, adjust and adapt to all changes that come up. Be positive in your outlook. You can learn something good from ALL experiences, changes and situations. Give it your all. AND BE SURE TO GET YOUR SLEEP. It helps a lot.

【Related Article】

• Jillina Carlano
• Cristina Gadea (Bellydance Evolution Cast Special)
• Eshe (Bellydance Evolution Cast Special)

Nourhan Sharif

1. Why did you start Raqs Sharqi?

My mother was a teacher in the 70's.... I was an only child and she took me to class :)...There was no one to take care of me at home my mother was obsessed with Bellydance ..so .I started in diapers at age 2!!

I later started teaching a children's class at the young age of 8 years old ......that is just how my life was ! My mother had over 500 students at a time ..she did not leave our home state ( I am from Rhode Island ) and she was not famous but she had a very, very large school! All ladies were doing it for exercise at this time in USA!

2. What is the most important thing to do when we dance in public?

To maintain integrity & dignity for ourselves and to continue to develop the dance form forward ..there are too many untrained dancers that exhibit questionable behavior while performing in public all over the world and unfortunately they keep lowering the standards for all of us ! I am always aware that my dancing reflects a culture and is not just "fantasy dance" I believe the roots of this dance and most things in the Middle East come from Egypt ..she is like out mother and we need to respect her/ourselves ! The dance is not to be taken away from the culture it comes from! For example some people want to bellydance to Rock and Roll ..that is not something I wish to do personally:)

3. Could you tell about your Raqs Sharqi style?

I am a mix between Egyptian style & Lebanese. Most of my training is/was with Egyptian Masters and my performance experience is/was with Lebanese Musicians:) I feel very lucky to have danced to such great live musicians who really cared about my show ..my first CD " Nourhan Sharif Raks Sharqui Volume one was written by and given to me personally as a gift from one of those musicians Aboudi Badawi from Tripoli Lebanon and that was a very special gift for me I will forever treasure! I have other training but my 2 main forces are Egypt & Lebanon!

My full bio is on my webpages:) I have had the great fortune to have almost every famous Egyptian teacher come and stay in my home & teach in NYC here at The Egyptian Academy of Oriental Dance which I have managed since 1997!

4. Could you tell about the relationship between Raqs Sharqi and your background?

My mother was a teacher and so I was forced into it ..then I grew to love it :) We are Italian Americans and so it is not related directly to my background, however I look Egyptian and most people believe I am Egyptian and just assume that is the case. My look /body type appears very Egyptian for better or worse I accepted this a long time ago :) I only remember dancing to Greek, Lebanese, Turkish and later Egyptian Music all my life ! I have never been a fan of American Music.

5. Could you give some advises or comments for Raqs Sharqi dancers?

Never use music without a translation of the lyrics/otherwise use instrumental music only !

Never price cut the other dancers in your community just because you want to dance ..better to do a benefit for an under priviliedged community than to price cut your sisters in dance! This unfortunately happened in NYC and the dancers are the ones that lowered the rates from the local night clubs by price cutting each other ..this practice goes on in many major cities around the world I see it almost everywhere I teach which is unfortunate for our Art form!

I will put many tips in my upcoming book about how to become a successful dancer:) Many pieces to this puzzle!

6. Who is your ideal dancer? Why do you like the dancer?

Sohair Zaki had the best hip work & clarity in her dancing ..she also had the best musicians and she was the first one to dance on Ulm Kalthoum!

Mona Said for her feeling !

Raqia Hassan is the best trainer/teacher / choreographer alive for Raks Sharqi in my opinion and she has trained most of the stars past and present ! ( Dina, Soroya, Rhonda , Mona Said , etc )

I am also very impressed with Hassan Affifi who is very prolific for his generation he made many artists, dancers and films throughout his life ..If I were living in Egypt full time I would spend all my time with him and Madam Raqia !

I am currently touring in 2011with Ahmed Hussein who is the only Egyptian to have Ballet, Bellydance , NYC Broadway Star & Ballroom Champion ! I don't think there is anyone more qualified in out field than him who is my current teacher! There is no other Egyptian Alive that I know of that has been a Ballroom Champion except Ahmed so that makes him extremely special and in demand!

7. What is your future plan with Raqs Sharqi?

To keep on teaching & sharing the dance & culture that I love ( they go hand in hand) , produce more badly needed teaching tools ( I have produced 4 DVDS, and 15 CDs during my career thus far ) and continue Making "Sharifwear for Divas that dance !!This makes women happy in all sizes from XS-XXXL ! Proudly made in the USA! I was the first person to have a dancewear line made only for Raks Sharqi in the world and I am very proud of that ! I am writing a book about Bellydance, & Betrayal ..my life story which includes many cultural points, discussion about the dance both the positive & the negative! Straight talk about gross/upsetting abuses/betrayals from my past husband Yousry (Ahmed) Sharif who turned out to be horrible after a 20 year relationship! Women need to be educated about this topic ..many young ladies get swallowed in the Lawrence of Arabia fantasy ..I am lucky to be free of him and I must educate others about it ..while this situation has happened to many dancers they are afraid to speak and thus the cycle of abuse keeps continuing..many dancers lose their careers, money, youth, beauty to a man very quickly all around the world .. ..using women for passports, money, greencards etc..children often get caught in between and a woman needs to really think clearly/be educated about many things before she marries any man never mind someone from a different culture..my book (s) will shed much needed light on these topics . Many dancers tend to think marrying Musicians or Arab men will further their dance career and in most cases this kills their dancing so they get the opposite result many of them longed for!!! Without any planning my two master degrees MSW & MBA plus my 40 years of dancing are merging together which is a big surprise ..but I feel a responsibility to help/teach the younger generations about dance, culture and awareness!

8. What is the most important thing to create choreography?

To be able to work with the melody, lyrics , & rhythms at a sophisticated level which takes a life time and one is never done learning..it goes on until your death ! If a teacher ever tells you they have talent from God only and that is it ( they did not have human teachers) my advise is to leave immediately ..we all need teachers ..civilization is based on having teachers ..and good ones inspire as well as give us a firm foundation to create for ourselves! They are not envious and they are happy when their students do well ! I am hosting a Future Stars of Raks Sharqi Series here in NYC to nurture young talent in the Fall 2011!

9. How and/or with whom do you train?

I will bring Madam Raqia Hassan here in 2011 & in 2012 and I will also host other Egyptians ..I bring approximately 4-6 Egyptians a year to NYC at the Egyptian Academy of Oriental Dance and I always take the workshop ! Currently I train with a Salsa teacher, Hustle teacher, both are top in the field here in NYC ..it is hard for me to find inspiration in my field at the moment in NYC ..many people are into make belief goddess, fusion stuff I have no interest in that personally ..I like Straight up Raqs Sharqui. My flamenco teacher Mariano Parra once said "Fusion is Confusion" I agree with him ..for one to do fusion you need 25 years in each field ..many dancers are not alive long enough for that or will not work that hard ..I cannot do fusion I will not be alive long enough for that ! My current teacher is Ahmed Hussein who I described above :)

10. As a dancer, what special methods, or daily routines (beauty products, massage, etc.) do you use to maintain your beauty?

It is important to feed your soul and go on artist dates with yourself ..to the museum, reading a book etc ..I also like to go to the Korean Spa for bodywork ..your body is your temple and if you don't take care of it then it will become your prison! I eat smart and try to exercise daily ..my body is used to dancing so I must do other things to get my heart rate up & Shock my body !

11. Which part of Raqs Sharqi is most relaxing for you?

Raqs Sharqi is relaxing when I can just dance for fun which rarely happens unless I am at a wedding etc ...( I am always working ! ) For me Hustle, Yoga or Salsa is relaxing because it is not part of my work world ..only for me personally :) There have been times in my career when dancing to LIVE music I just got lost in the music ..this can never happen dancing to a CD ...and dancing to live music is rare now so it doesn't happen that often :( but I could say I relax with live music ! In Japan I will be dancing to LIVE music in October! Yeah!!

12. What suggestions do you have to make the belly dancing community grow? How do you think we can turn belly dancing into an industry?

Many Western women in USA are turning it into a fitness industry ..bellydance is a workout now in almost every gym in the New England Area!!! I have students with 500 + students in their schools ..they are making certifications , shows etc and it is turning into big business for them ! I am not a fitness teacher personally although I have nothing against the idea.....yes you get a workout in my class but I am more interested in your head and then your body ...most of the professional dancers performing in NYC right now started with me ...I am really into making dancers move & think & create a firm foundation with the basics ..without that your not going to go very far ! I insist learning the rhythms ..many dancers that have been dancing for years cannot tell you the basic rhythms and that to me is very very sad !!

Amani

1. Why did you start oriental dance?

I got a degree in sociology and another in aesthetic. Entering into this artistic world was a dream that came true.

When I used to read the old books about the east and its history, I would imagine myself dancing within these stories and historical events. I would dream of dancing, of being able to put these visions into a dancing performance in my head. “

My passion for Dancing was the brighten gate for a historical culture.

2. What is the most important thing to do when we dance in public?

The most important point you should always keep in mind when dancing in public is to give respect and dignity to your dance and to yourself. Any movements that degrade you and your dance are better to be avoided. For example:

• Shoving your buttocks vulgarly when you make a big hip circle
• Shaking your breasts in an indecent manner instead of making an elegant shoulder shimmy

Such movements were added to the oriental dance vocabulary lately by dancers who would rather rely on explicit expression of their sexuality rather than the artistic quality they could have shown. To keep the high dignity of this art, we should all be careful to not give the wrong image to the public.

When you see any movements that you feel will degrade your image, don't add them into your vocabulary. Cast a critical eye on what you do. Your dance should be reflection of your personality but not someone else's.

Whenever you have even the slightest doubt, pause and ask yourself.

"Do I accept to have people take them as presentation of my personality? Such movements like obscenely showing off my buttocks to the audience in a big hip circle and bouncing and shaking my breasts vulgarly?

"What would I think if I saw a lady making such movements without music?

"Is it allowed to demonstrate movements that are normally not respected to do in public if there are music and beats?

What we do, decides the way this respectful art evolves. Let's work together:

• to get rid of odd movements newly added to the oriental dance vocabulary, and
• to have oriental dance develop without losing its authenticity and aesthetic.

By working hand in hand, we can change the current dance scene all over the world.

3. Could you tell about your oriental dance style?

A personal style can be divided into two parts: Aspect and technique

Personal aspect style wise

Again, each style reflects the personality of the artist. Intangible matters are hard to explain. All I can tell is that when I see a dance choreography performed by the choreographer him/herself I can understand his/her logic, creativity and insights, how much deep and transparent he/she is.

That is why all I can say is that my dance is revealing my character.

Technically wise:

Amani believes that Oriental dance is an art all on its own. It can express just like any other form of art anything one wants.

Simply Amani’s style emphasizes on the different stage of body work and expressions not only the hips work and little arm brush.

She has worked on upgrading the art form of this dance:

• Gave a new theatrical dimension. She has switched it from cabaret to theatre
• a new aspect
• She has enlarged the dance vocabulary by inputting and adding new steps influenced from Arabic architectures and other Arabic influences
• She has worked on filtering the different styles of oriental dance like : Andalusy, Historical, Modern, etc,.. and Folklore, so the spectators can distinguish in between.
• She presented dances in a telling story format using oriental dance vocabulary:
• Amani, in her dance scenery, dances, acts and sings on stage when stage act imposes as features her show dances in “ Batta”, “ Tabiloulha”, “Ammouna fi Al Saiid” and “Jamilat el Mamalik” ,etc

4. Could you tell your relationship between oriental dance and your background?

Referring and relating to the previous question about my style and my answer concerning reflecting personality to the dance style, hence I cannot separate or distinguish between my dance and my background because they are one. Without dwelling into my oriental culture my dancing would have literally different path and style.

5. Who is your ideal dancer? Why do you like the dancer?

I have many dancers that I appreciate their work , like:

• Samia for her grace
• Naima Akef for her creativity
• Katty for her energy
• Nadia for her execution
• Najwa for her perseverance
• Maima Mokhtar for her sensations to the music
• Nabawiya Mostapha for her great hip technique

and many many more etc.

6. What is your future plan with oriental dance?

Amani Oriental Festival is a prime plan. As a leading dancer interested and with stakes in developing and preserving the identity of Oriental Dancing, its nature and characteristics, refine the current dance scene running worldwide , I believe it my duty to take on serious and practical measures in order to accomplish this objective, starting with workshops that would bring together as many oriental dancers as possible into one organized work where we could harmonize and distill the essence and substance of this art. Hence, I open the door to the teachers of the world (our guest teachers) to the one who wants to take part at the festival .

7. What is the most important thing to create choreography?

When you love the music you will certainly have a vision. When you do something with love and mood you will inspire yourself … this inspiration leads to the first steps of a nice choreography and being creative.

8. How and/or with whom do you train?

I train by myself. When preparing or rehearsing for a show I work with my dance troupe

9. As a dancer, what special methods, or daily routines (beauty products, massage, etc.) do you use to preserve your beauty?

I drink lot of water, eat chocolate and ice cream, almost vegetarian. Sleep well. I do not drink do not smoke. At the end I believe in Our Creator, the source of love and peace.

10. ( Oriental dance is said to be more relaxing and stress-free than other dances) which part of oriental dance is most relaxing for you?

Nice to hear that ! for me whatever you do with love brings relax and happiness , you will be fulfilled with your work at the end. The most relaxing part in my dance is the applause of the audience and their joy.

• Amani Official YouTube Channel