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

Willow Chang

1. Why did you start Raqs Sharqi?

To me, Raqs Sharqi is a beautiful and natural way to integrate all the elements of life that I find of importance:

• Ritual and tradition
• To be a conduit to connect the past with the now and influence/inspire the future
• To connect, express and celebrate the feminine divine
• The chance to experience ‘tarab’ or divine ecstasy
• The mindful meeting of a mind/spirit/soul and body connection
• The opportunity to feel comfortable in one’s skin
• To BECOME the music
• To flow and being in the now of improvisational dance
• To create costumes that is beautiful
• To express the wide spectrums of emotion
• And of course to SHARE, give and communicate with others.

This, is why I started studying Raqs Sharqi (and also probably a means to retain/understand f my time spent in the Middle East)- because it is a reflection of life and recipe for living.

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

In my opinion, there are 3 things of great importance:

• Is that we must be protectors, guardians and educators about our dance and insure we take care of it and treat it and other dancers with respect- so others will follow. Our dance has collectively been mired for years and generations with misunderstandings, falsehood and erroneous impressions that will take continued efforts and time to address. It’s not whether you want to- we have to! It’s a calling. This could be dancing and dressing appropriately for events or programs or simply educating people about in innate beauty of this Art form.

• Sharing is the most rewarding way to approach this dance- whether you are a teacher, student or performer, we are all in the position to share, hopefully with a generous heart. We can share resources or time, ideas or feedback or simply approaching your practice with the intention of “This is my gift and I want to share this with you”. I really believe in the power of intention, and it’s great to put into practice the ritual and act of sharing, which I think aids in combating ego, competition and other petty, Human traits that are so easy to fall into. When I strive to be my best self, it’s not driven by being better than someone else, but the reality that everyone collectively benefits when we aspire for good, excellence, with focused and honest efforts- which in turn manifest into positive results and actions.

• Being genuine is something that one can benefit from as people and as artists. Finding one’s personal truth and negotiating and navigating that with the culture, traditions and creativity this dance allows for is why I believe it can take a lifetime of daily practice to master and be real. It can be citing resources, giving credit, listening to the state of our body daily and respecting our instrument, being true to the music and traditions of our dance, or even allowing yourself the freedom and honesty to express and feel what you are feeling when you hear the music and dance.

We can ultimately only be ourselves, and if we advance ourselves at another’

s expense or in turn ‘trash’ our dance, there is a karmic debt that is simply not what we call in Hawaii ‘pono’ – just, right or appropriate. I am not here to judge- I am simply stating for myself, a spiritual compass guided by respect, gratitude and humility helps me put things into perspective and helps me grow as a person and as an artist. The easiest way to achieve this to also respect the lineage and teachers, gurus,kumus, masters and mentors with whom you have studied. They are entrusting us as students, dancers, teachers…to take care of this dance and ourselves.

3. Could you tell about your Raqs Sharqi style?

Well, there are so many styles of Raqs Sharqi as your readers are aware of.

Sometimes, the labels help, other times it can further the confusion. Fred Astaire, Paula Abdul and Martha Graham are all American dancers, but it seems odd to say they are “American Style “ dancers.

I am one of those (rare?) people who genuinely enjoy ALL kinds of belly dance and Raqs Sharqi, from folkloric to traditional, Sharqi to Turkish, Lebanese, Egyptian, American Tribal Style, Tribal Fusion and theatrical dance.

I can certainly appreciate innovation but I also respect upholding traditional dance styles. I believe there is a balance that is fluid in these matters and often belief the right classification can assist in alleviating confusion. For example, I am undoubtedly influenced by Middle Eastern and related dance forms- especially since I have spent the 17 years actively involved in this dance. But for me, when I perform Theatrical or Contemporary dance, I simply call it that, not belly dance. It’s what I feel is most accurate to the mood, feel and dance.

My style is 99% generally dictated by my music choice. If I choose something by singer Fatme Serhan or some Turkish Rom music, each dance will clearly be different. If it isn’t fusion, I try to keep styles, movements, music and costuming consistent so it’s not too convoluted in presentation. I guess I’m know for what I personally appreciate and admire- traditional femininity expressed in movement, a wide array of emotions, repetition of moves to build the groove (which is what the Golden Era dancers did), a valuing of fluidity in a seamless flow, expressive musicality, grace, elegance and maintaining the dignity of the dance and dancer.

I’m not too keen on ‘vulgar’ approached to belly dance- and I understand that in it is often subjective. Let’s simply say I steer clear of “exotic dancer/ stripper moves” and I keep it family friendly. I appreciate the sass, moxie, attitude, delicious divas like Mona Said or Dina, bit I don’t want to take part in assisting the false ideas/stereotypes about our dance, if this makes sense. People have to decide for themselves what this may be. For example, I’d never do a ‘lap dance’ cause it’s not me- but more importantly, I feel it hurts the image of our dance. There are always those who can push the envelope, but I would rather be valued for what I can bring to the dance than take away from it.

Perhaps what’s most important to know about me is I want to always respect the dance and I almost exclusively work improvisational way- like a perpetual state of taksim to stay focused, in the moment and true to the ‘origins’ of belly dance. My music choice is always my starting point. I make my own costumes, which deepens my creative input and feeling of individuality. I frequently think of all the dancers who have inspired me and continue to do so, when I dance or brain storm. I am also very interested in ways of creating a safe place to feel, express and return the dance to some origins of a sacred nature. Dance is ritual and it’s important to remember we can hold a great power to communicate- and it’s something I take seriously- to open, clear and non- manipulative in sharing the dance.

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

The dance backgrounds that I come from are steeped in history and tradition. Prior to Oriental belly dance, I studied Hawaiian Hula, first as a halau (show) for 10 years, and later performing Hula and Polynesian dances in Egypt, where I fell in love with what we call “belly dance”. In addition to Hula, I have studied Tahitian, Argentine Tango, Flamenco, Kuchipudi and Odissi (Indian dance), Salsa, Samba, Khaleegy, Northern African dances (Algerian, Tunisian and Moroccan), Balinese Legong, Modern, Belly dance (Egyptian, Lebanese, American, Turkish, Tribal Fusion, Theatrical belly dance) and Ballet to name a few.

I believe it’s important to understand what components create a form of style of dance. These elements include, but are not limited to: the culture and people that have created the dance(s), the stories and myths, musical forms, the rhythms, poetry, beliefs, costuming, taboos, history and recognition of the leaders that have contributed to the dance. Clearly an understanding and awareness- and appreciation of these things take time, not to just learn and know them, but to LIVE and EMBODY them.

When you have an understanding of the classics, traditions and basics of an art- whether it be music, dance, painting, poetry etc., you are then in a richer place to CREATE, RESPOND and CONTRIBUTE in response to what has come become. In turn, when you FUSE, you are ultimately marrying 2 or more influences together. Ideally, something can be seamless, respectful and provocative to elicit both FEELING of something GENUINE.

Being of a bi-racial background (Chinese, German, English, American Indian) and growing up in multicultural Hawaii has certainly shaped the lenses through which I view things. I believe belly dance is really the first ‘fusion’ or multicultural dance form. It resonates with so many people worldwide for so many reasons- because there it literally something for EVERYONE to relate and respond to. It never seemed odd, strange or off the wall to be attracted to this dance. It is as natural as life itself. I am committed to sharing this dance, because I know dance and the processes it can incite are healing.

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

Wow- so much to share…in no particular order:

• Be kind to yourself. With your spirit, your body and feelings.
• Allow yourself time to embody the movements, to become the music& understand how they have a relationship.
• Don’t be afraid to feel and express emotion. SMILE!
• Don’t be afraid of taksim (improvisation).
• Beware to teachers/individuals who actively try to limit you as a dancer, student or person.
• Don’t let other people’s hang ups become yours.
• Find your favorite song (s) that will always make you want to dance.
• Dance without emotion is exercise.
• Repetition is our friend.
• Be yourself.
• Ask questions.
• Bring your dance habits into the ‘real world’- like posture, eye contact and extension of your movements.
• Cross training is good for you! (Swimming, ballet, yoga, strength training, samba etc)
• Drink water. Frequently.
• When you can, travel, read, dream, share.
• Learn basic sewing.
• Listen to your music everyday- on the bus, cleaning house, in the car.

It will be less ‘foreign’ and be more familiar- making everything belly dance easier.

• Find a regular teacher/class to assist in maintaining a regular dance practice.
• Dance to live music sooner than later.
• Film yourself and watch it to see what self-corrections can be addressed.
• Visit other dance communities.
• Study with the masters- in music and dance.
• Get involved J

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

An ideal dancer? One who feels the music, is the music and make me feel!

They don’t have to be famous or well known, or even the ‘best’. They have to have joy that is tangible. And, I greatly appreciate people who grow as artists, who are kind and 100% committed to their dance!

In no particular order dancers who I adore would include my first belly dance teacher, Glo Ayson, Mona Said, Tahia Careoka, Dina, Amani, Samia Gamal, Nadia Gamal, Dani Boutros…including Diana Tarkan, Tito Seif, Nath Keo, Leila Haddad, Tarik Sultan, Ava Fleming, Aisha Ali, Rachel Brice, Mardi Love, Dalia Carella, Asena, Elena Lentini, Cassandra, Ansuya, Bert Balladine…newer to me would include Sal Vanegas, Lebanese Simon, Dusty Paik…friends and fellow dancers Meissoun, Aisha of Greece, Anasma, Colleena Shakti constantly raise the bar as well! Seriously, there’s NO SHORTAGE of gifted, skilled amazing dancers who inspire me and this is something I also love about this dance!!!

7. What is your future plans with Raqs Sharqi?

Well, to continue the path I am on- teaching, performing, creating and sharing both locally and internationally. A career in dance isn’t easy, as you know, and every parent who says it’s hard is right! There’s a lot of work that isn’t ‘paid’ for, your promotions, emails, web maintenance, YouTube channels, sewing, rehearsing etc… and you essentially have to carve out your own path. I wish there was a handbook! I simply follow through, keep learning and stay true.

I am very grateful to have traveled every year internationally since 2005 to share dance and music, and also study with others, and it’s an invaluable experience that really feeds the soul. Meeting other dancers and kindred spirits is something that can never be replaced and it keeps me engaged and in love with this dance!

Being an event producer is something that is a lot of work, but worth every moment to ensure the message stays on target. Founded in 2008, my annual PUJA International Dance Concert is in its 4^thyear, and features dance from all different genres. I like to artistically match make and provide opportunities for other artists to perform, create and communicate.

I am hoping that I will be able to complete several DVD projects that are in the basic planning phases, which would include instructional dance, performance and collaborative creative compilations of other artists featured in PUJA.

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

My first inclination is to say you must absolutely LOVE LOVE LOVE the music that you are dancing, or it will always be a stranger and a struggle. The next thing I’d say is to never forget what you want to share and say. Lastly, I’d say allow yourself to FEEL, because a choreography without feeling is only exercise. And of course you want to have fun/enjoy dancing, otherwise, why dance?

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

When I fist started, I had a regular class and instructor that I went to religiously. Since I started belly dancing, I’ve studied with nearly 100 teachers, many of them multiple times and from each I have learned something awesome.

I do a lot of self-practice and work as a dance instructor. There are pluses to teaching dance as a profession. The upswing that that you have movement and dance worked into your schedule. However, you need to also find ways to challenge and stimulate your own skill set and interest, especially if you have new, beginning or constantly revolving students in attendance.

I find several approaches helpful. One is to use different music and mix it up. Revisit old tunes; look for new stuff and even work with stuff you aren’t as familiar with. You will literally be ‘on your toes”. I think listening daily to music- while at home, the computer, cleaning, in the car and with EARPHONES really helps. Translating your music and practicing with zills also helps. I believe in cross training. Flamenco, Argentine Tango, yoga, and even Bon Dance- all are arts I practice and keep me in awe of different ways to move the body, dance /movement vocabulary and exposed to new ideas. I encourage people to WATCH a lot of dance- shows at restaurants. Theater shows, musicals, dance TV shows- ever America’s Best Dance Crew shows new and fresh approaches to dance.

I also DO NOT watch dance excessively that I don’t like- it’s too easy pick up weird ticks/habits with things you don’t like, them have to unlearn it! I also advocate JUST DANCING. No choreography or set moves. The other approach- is to set a goal and consciously practicing.

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

Every time I start class, we start with a mediation to sync the body with the spirit. I believe this is very beneficial. You cannot underestimate the quality of breathing and how it affects EVERYTHING we do!

I also have studied voice weekly for over 20 years - so I find the strength of dance applies to my singing as well. To find one’s voice, literally and figuratively is so important for an individual. I am interested in the HOLLISTIC and INTEGRATE approach to the body, art and the creative process. So I am always striving to understand how it all works together.

I believe in a lot of laughter for health, too.

I watch my diet and add healthy elements-water, fresh vegetables, nuts, healthy snacks, lots of ginger, garlic, onions etc to clean the body! I don’t drink or smoke and do all I can to protect my knees and back. I rotate the height of my heels and shoes. I am a big stickler for body alignment, and am always interested in SAFE ways to move the body.

I do yoga, stretches at home- especially my calves and arches of my feet. I do drills for stamina, take the stairs when I can and use common sense. I like hot showers for my muscles, steam bath/hammam when available and appreciate that sweating is good and healthy!

I see a cranial sacral/therapist for alignment and a massage therapist monthly for maintenance of my body to ensure I am taking care of myself.

I always listen to my body- am I stiff? Tired? Alert? Tense? What can I do with my body, today?

I also wear sunscreen and moisture my body daily, to ensure the skin is safe and protected. Sometimes I take supplements- vitamin B, Fish Oil, kelp tablets. I like eating seaweed and nori as it’s both tasty and good for the body. It’s a great responsibility to take care and understand how the body works, and I do what I can to help it in any healthy way possible!

Lastly- kindness, practicing loving kindness-metta is so essential and also cuddling, hugs and touch from those you love is really health insurance. At all costs, avoid people who are negative or harmful to you in anyway, as it will rob you of your joy, love and ability to stay open and in awe of the dance, the art and life itself!

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?

Without a doubt, the slow, sustained flow of taskim, the improvisational, serpentine, dance. There is grace and beauty in this- if you are open to let it in.

Serkan Tutar

1. Why did you start Raqs Sharqi?

Hummmm why I start to Raqs Sharqi. I think it is my destiny. When I was 10

years old, I had been to Saudi Arabia. I am a Turkish and since I was born I use to listen and dance with oriental sound which is in very rich in Turkish culture. After I had been to Saudi Arabia, I fall in love completely Arabic sounds.

In Saudi Arabia, there is no belly dance or belly dancers. They have their own dance style and music. I falled in love deeply oriental sound during I stayed in Saudi Arabia. When I went back to Turkey, I brought lots of video tapes and started to study Raqs Sharqi with these videos. Turkish people always love to dance at a wedding party and a festival. It was good exercise and experience for me.

When I was 17, I had a chance to perform in public. It was my first professional performance. I felt stress because it was a big party, but I did it. I stayed on a stage more than 45minutes. I felt this is the place for me when I danced on a stage. I did not stop learning Raqs Sharqi.

I found Nesrin Topkapi. She is the Queen of Turkish belly dance. She is a legend in Turkey !!! I have had great chance to learn Raqs Sharqi with her. Moreover, I could keep learning from other great teachers.

I have 18 years dancing career. Dancing is my life. Why I started Raqs Sharqi? The answer is that Raqs Sharqi gave me a chance to enjoy the moment and I just started. I can not stop learning, because there is a lot of things to discover in belly dancing world.

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

The mos important thing is "connect with your audience!"

If you are perfect with your music, costume, and presentation, the performance will be OK at the beginning.

First of all, you must respect yourself and your audience with your costume and your music which you chose and express yourself correctly.

"Simple is the best”

Don’t forget that every your audience is not expert.

Keep your dancing movements simple and clear. You arms and hands must be elegant, and you have to keep a beautiful posture. Never look down to the floor. Always keep looking to your audience.

"Smile is very important!"

You should connect with your audience with your natural smile.

Nobody enjoy watching dancers without smile.

3. Could you tell about your Raqs Sharqi style?

My Raqs Sharqi style is mix of Turkish style belly dance and Egyptian modern style, because I am a Turkish and Turkish style is in my blood.

My style is more multi-cultural. Moreover, I want to add some fusion elements or gypsy stuffs, because I believe these things will make my dance style more rich.

Of course, I have big respect to dancers who prefer one style.

I prefer my modern style and mix of Turkish style, Egyptian style, Gypsy style, and some fusion elements.

I think everybody has one own color. but I want to be more colorful to keep learning.

You can chose staying in one color. You can go to adventure to add more different colors on your current Raqs Sharqi style. I prefer learning different styles, and I believe these experiences will make my dance more rich.

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

I’m Turkish. You can hear oriental music at a festival and a wedding party. Raqs Sharqi is in our blood. We have really mix and rich culture. So I was born and grown up in this mix culture. I think Raqs Sharqi is heritage for me from my culture.

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

*Respect to yourself, to your dance, to your audience

* Never stop learning! There are always new things to learn.

*Accept Raqs Sharqi is Art !! You can show your emotional feelings with Raqs Sharqi, but don’t make it in vulgar way.

* If you really love Raqs Sharqi and want to be a dancer, you should overcome all difficulties.

*You don’t have to love everybody or every dancers, but you should respect each other, because you will never know who will be co star in the future.

*Never think “You are the best!”, because its not true. Everybody has a different style, taste, and color.

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

My ideal Turkish dancer is Nesrin Topkapi. She is a dancer and a teacher like everybody have to be. Her respect to her professional, herself, and her students is wonderful. You can feel her respect directly when she dance or teach. Every one will fall in love with her dance, because you feel her elegance, her beautiful movements, and her charisma. Unfortunately, younger generation dancers might lose these parts.

My another idol is Aziza from Canada. She is a beautiful dancer and a teacher. I do not need to explain much about her. If you watch her videos, her dancing will show you what I mean.

7. What is your future plan with Raqs Sharqi?

Try to improve this dance as an art form. I have traveled around the world, but I will travel more and more to see dancers who have same passion with Raqs Sharqi.

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

*Choose right songs for you. You have to feel good with the songs which you choose for your dancing!

For example, if you are a tribal or a fusion dancer, you don’t choose Egyptian classic music, because it will not fit your dance style.

*Don’t forget to smile, keep good posture when you create your choreography.

*Listen your song 50 times or even 100 times, because the song will tell you what you have to do with the music. Moreover, listen the song in different places (in dance studio, in your car etc.) and you will hear and recognize different details of music each time.

*Be make sure what you want.

*Make sure that your choreography is for solo, group, or duet.

*OPEN YOUR MIND !!! you have a potential and possibility more than you think. Don’t block yourself.

9. How and/or with whom do you train?

I’m teaching everyday minimum 3-4 hours at weekly classes. I’m travelling around the world for giving workshops in the weekend. These are part of my training. When I have to create new choreography, I train 5-6 hours everyday.

Never stop to listen belly dance music. Music always gives me new inspirations . Great teachers also give me new inspirations to Raqs Sharqi! Never stop learning!!!

Serkan Tutar teaches the detail meaning of Raqs Sharqi

First of all, Raqs Sharqi is a general name. Raqs means "dance", and Sharqi means “middle eastern”. So, Raqs Sharqi is “dance of middle eastern”. The middle eastern includes these area from Morocco, Tunusia, Turkey, Lebanon, Syria, India, China , and Japan. There was a silk road in old time. All those countries had connection with their culture, dance, and music.

Raqs Sharqi is a general name like Oriental Dance. French people say “Dance de ventre" which means Belly Dance. “Dance de ventre" includes those kinds of dances who are Indian dance, Turkish dance, Moroccan dance, Gypsy style, and Thai dance.

“Dance de ventre" becomes more popular with Egyptian style or Lebanese style. Both styles are called Raqs Sharqi.

• Serkan Tutar Official Website