Speaking of new …. From new classes to my brand-new CD to the new upcoming show, there’s a ton happening! You can also check out the new website and let me know what you think!

Classes start on Sunday, Sept. 10, at 1:00-2:00 pm at Center Stage / Kidz Kabaret, 1665 Quincy Ave, Naperville IL 60540. By popular demand, I’m offering a brand-new class on Thursday evenings from 7:30-8:30 pm, starting Sept. 14. Beginners will learn a veil dance and intermediates will learn a stick and wing dance just in time to for our December holiday party.

I released Mirage, my first CD album (BRAND NEW!) and it’s now available on Amazon, iTunes, CD Baby and other first-class outlets. I collaborated with world renown Yassir Jamal to create the album. He recently played for the King of Morroco and is one of today’s most popular composers of music for Oriental dancers. Mirage has ten tracks of original compositions, including two exciting drum solos and two tracks designed for drill training.

My professional team, Raksanna and the Desert Flames, is working on an amazing show. The Fourth Pyramid: A Tribute to Om Kalthoum is scheduled for May 2018. The sixth in the Confessions of a Belly Dancer™ series, this fully interactive theatrical presentation features original research, interviews with dancers from around the world, footage of the life and inspiration of Om Kalthoum and more.

I am excited to be back in full swing this fall and look very forward to dancing with you. You can find more information about the program, class times and tuition, and more here.

To quote a friend of mine … Enjoy the moment, celebrate your health and live in anticipate of a wonderful tomorrow!

All my best,

The post Sept 2017 – Raksanna’s Remarks first appeared on Raksanna.

Part of the beauty of life is that it is unpredictable. Everything changes and nothing is permanent, although we like to convince ourselves otherwise. Things happen to and around you that transform who you are and impact your life. Rather than fighting the changes and wishing for things to go back to the way they were, we need to cultivate and grow our ability to truly accept whatever comes – and embrace it.

We need to learn how to look at whatever happens through a positive mindset, instead of a negative and defeatist one.

It’s a fact of life. We’ll face many challenges (like the death of a loved one or a significant change in a relationship that’s important). It’s not easy to accept or embrace them when we’re hurting and wish they never took place. But if we start now to cultivate acceptance in our lives, we are laying the foundation to better cope with future crisis in a different way and view them differently. Instead of resisting, we will accept.

Deepak Chopra’s, The 7 Laws of Spiritual Success, dedicates a complete chapter to Law #4. This concept encourages us to open our arms and receive what happens to us, because if we resist and fight it, our minds will be filled with turbulence. Chopra goes on to explain that, although we can hope and want things to be different in the future, we need to accept the present moment and things as they are, in order to make life flow smoothly, instead of roughly.

I am learning the true power of acceptance. It’s not easy, but it has been a healing process.

Life for me has taken many turns and twists this past year. My family has faced and conquered some severe health challenges (things are back on track now), I’ve taken a full time day job that I love, I’m still dancing and teaching and writing shows, http://tinybuddha.com/blog/the-power-of-acceptance-stop-resisting-and-find-the-lesson/

April 2014

Wow! Can you believe it’s already April? Time has certainly flown and it’s been busy. The new session of classes starts this Sunday and I hope to see you back in your hip scarf, shimmying and smiling! Beginners are learning cymbals, Intermediates continue with the Oriental choreography and Intermediate Plus fine tunes their technique.

Raksanna’s Near East Dance Ensemble continues working on the next stop in the Confessions of a Belly Dance tour. We’re playing in Kansas City on May 17 at Union Station – right next door to the King Tut exhibit. This weekend is the photo shoot with the Kansas City cast – and then we’ll reveal who’s who next week! Tickets are now on sale, so if you can make it – we’d love to see you. We continue our VIP tradition, so why not treat yourself to a fantastic experience you’ll always remember?

I’ll write again next week … when we reveal the new cast!

Until next time, Happy Shimmies,

Raksanna

The post Letting Go – April 2014 newsletter first appeared on Raksanna.

• Nan, one of my star students, connected with her passion for dancing and playing the cymbals. Enjoy her featured performance of pure artistry! (And, you can learn to dance like Nan, as our next session begins on Sunday!)
• Amira trained with me for several years and connected with a dream to be in a movie! She was cast as a belly dance student in the recently-released movie, Just Like a Woman. She’s definitely an inspiration to me!
• And members of Raksanna’s Near East Dance Ensemble are working hard on Confessions of a Belly Dancer; Secrets of the Hieroglyph © with an Off Broadway tour stop on Oct 19, where the team will connect with amazing dancers in NYC!

Tere’s more! With specialty workshops like Luna of Cairo, belly dance connects us with other dancers who love this art form just like us. (Be sure to register as the workshop is nearly sold out – and make plans to attend the star-studded gala show on Saturday, July 27, night!)

So, get connected! Join us for a sizzlin’ shimmy-filled summer!

Hugs and happy shimmies!

Raksanna

Then, there’s Amira who trains with me who connected with her dream to be in a movie! She was cast as a belly dance student in the recently-released movie, Just Like a Woman. Amira is definitely an inspiration to me!

And don’t forget Raksanna’s Near East Dance Ensemble who is working hard on Confessions of a Belly Dancer; Secrets of the Hieroglyph © with an Off Broadway NYC tour stop on Oct 19, where the team will connect with amazing dancers from across the world!

The post Joyful Connections first appeared on Raksanna.

But before getting to any of the above, it is interesting to look back to Saras roots, and observe how the seeds of her current life were planted very early indeed. Born Maureen OFarrell (which is still her working Equity name) to extremely working-class Irish parents and brought up in London, her father was the school-keeper at her primary school. They lived next door, a situation which enabled her, she says in hindsight, to know more about the inside workings of the place than most of the teachers, and gave me a very different attitude towards authority. Lets just say, school was never an intimidating place.

She did well there, and went on to a girls grammar school. By this time my parents had split up. I was rebellious, and used the fact that I came from a broken home to my advantage. I ended up head girl. (To those who know Sara, the title rebellious head girl still fits her to this day!)
Sara was always a step ahead of her age. At fourteen she was London Area Secretary of the official Beatles Fan Club. At sixteen she left home to live in the house of her music teacher, but says that circumstance, not any particular person, was her main influence.

Two things happened to me when I was eleven, which were to have a lasting effect on me. The first was going to see the film Lawrence of Arabia and deciding I wanted to learn to ride a camel. Secondly my history teacher, who was an Arabist, taught us about the history of the Fertile Crescent and the rise of imperialism in the Middle East. The anti-imperialist subtext of Lawrence attracted me, and I still think its a great movie to this day.

I decided then and there, that as soon as I had enough money I would go to the Arab world and see it ! for myself. But at the same time, my whole background at school was in the arts music, literature, dance and drama. So after A Levels I went to art school in Hull, but combined my interests by studying archeological drawing. After two years I applied to Dartington, where I shifted to drama and dance. I then went on to qualify as a dance, drama and English teacher at Rolle College of Education.
After a full five years of further education I ended up almost bankrupt, and took a job as drama teacher at a comprehensive school in Bow, East London. It was during this time that I teamed up with other actors to be a founder member of a theater company. Those other actor/dancers in Helen Jives, have become integral members of Londons theatre community

In 1978 I stopped teaching altogether to concentrate on my acting career. Although I loved dance I never wanted to be a professional dancer because of how I saw dancers treated within the industry. Nevertheless I continued teaching dance – mainly Cunningham technique, and release work.
In 1981 I got the job on the TV drama Widows (which, she modestly omits mentioning, catapulted her to national stardom), and the first thing I did after signing my contract was to book a holiday in Egypt.

In true Sara style, she describes her first experience of Cairo as F***ing amazing!

My early involvement with the Beatles had fueled an interest in Indian classical music, so when I came here the music really drew me. I went to see a dancer at the (long-since defunct) Sahara City night club. The atmosphere was electric. There she was with her enormous, poe-faced orchestra, but she was having a ball – and so were the audience. I thought, I want to do this! This is a form of professional dance that I could actually enjoy. I returned to London and took classes with Wendy Buonaventura and Suraya Hilal – who back then was still known by the name Selwa Raja. It was through Wendy though that I met Leila Haddad, and that was actually a much more meaningful connection for me. Through being taught Tunisian dance by a Tunisian, I realized that the only way I was ever going to learn Egyptian dance was in Egypt. So I came back here as often as I could, and had classes with Ibrahim Akef – but mainly just watched and watched Egyptian dancers Mona Said, Nagua Fouad, and most of all Fifi Abdou.

The thing that really struck me about coming here was how at home I felt. It had something to do with the outward appearance of this being a fast and crazy mess, but once youre in it realizing that everything actually goes along quite slowly. Also I loved the way that people here have a very natural relationship to music. They dont just expect to be entertained, they become part of their own entertainment. There was a recognition of what from the outside looks like a very hard life, but actually involves having an enormous amount of fun. People here are good at improvisation. They have to be, whether they work as a dancer or a car mechanic.

Back in London Sara, who was by this time bringing up her son Thomas on her own, went on teaching dance – including her new found love, Egyptian dance. I found teaching short once-a-week classes very dissatisfying on all levels, she says, because I couldn’t cover what I wanted to in enough depth, so instead, I taught four hour workshops every three weeks. I have always taught people to dance because I love to share with them my passion. I never wanted it to become a business. I preferred making my living through acting.

In 1991, events in the Middle East coloured the direction of Saras life. I watched on TV the invasion of the Gulf, and the bombing of the Tigris and Euphrates rivers – places Id spent so many painstaking hours drawing in my history books at age eleven. I decided I wanted to leave England, and go and live in the Middle East. And Cairo was the place I most wanted to be.
Being the kind of person she is though, Sara first enrolled at the University of London School of African Studies, and did a three year degree in social anthropology of the Middle East, followed by a

M.Phil and study for a PhD.

She also began bringing her dance students on trips to Egypt to discover the dance connection she loved so much. I believed that if you were really interested in Egyptian dance you had to experience the country; not just the dance scene but the way people behave. On one of these dance trips – to Luxor – in the spring of 2000, I was offered a job teaching dance in a hotel there, which I did that summer. I met Sherif, who was the DJ at the hotel, and we ended up getting married.

So Maureen OFarrell became Sara Sherif Farouk, and converted to Islam to make the transition complete.

I had studied the Muslim faith at university and in many ways it made perfect sense to me, she explains. It is a religion that is relatively new, yet recognizes the older religions. It is practical to be a Muslim, living here. And at that time, I also wanted to distance myself from what was happening in international politics.

I sold my house in London and moved to Luxor, where I realized that mizmars sound fantastic played outdoors!

In other words, real life in Egypt was all she hoped it would be. At least, she qualifies, as good as it can bealmost 450 miles from Cairo. Actually, the best thing about Luxor was really realizing the worth of Saeedi music. Its fundamental to the Egyptian sound.

Sara and Sherif lived in a village on the outskirts of Luxor for three and a half years while Sherif finished his studies in tourism, and Sara herself took a job working for up-market travel company Abercrombie and Kent. They had other things in common Sherif had twice won the Best Actor in Upper Egypt Award, and performed with a local drama group.

But the couple moved to Cairo as soon as they could, in 2003, where Sara quickly established herself within the dance community, and lost no time putting her diverse skills to use. Her first job, apart from working with Raqia Hassan on the annual Ahlan wa Sahlan Festival, was with a French theatre producer, as assistant director on a large dance extravaganza due to launch in Sharm el Sheikh. Memories of the Sphinx, as it was titled, featured a cast of 80 performers, mainly Egyptian, but included twelve dancers recruited by Sara from the UK and Europe.

One of the nicest things to come out of that experience, she comments, was seeing Tara from England and Shafeek, one of the folklore dancers from Cairo, meet and get together.
(In fact Shafeek is not the first male dancer who can credit Sara as providing him with a UK connection. Khaled Mahmoud was a friend of her husband Sherif in Luxor, when she first observed his love for dancing and gave him a shot at teaching a group she was hosting in Cairo. They enjoyed it so much she arranged a workshop for him in the UK – and the rest is history!)

Despite monumental production efforts, Memories of the Sphinx foundered after one season due to sponsorship difficulties. (It is due to be re-launched in the near future how! ever, in Luxor, with the support this time from the Ministries of Tourism and Culture.) While it was still being staged, Sara contracted breast cancer, and on her return to Cairo from Sharm, fought and won her battle against the disease with help from an unexpected source.

I have to thank the wonderful people in the UK, Tracey Gibbs, Anne Kingston, Shirley Lewis, Caroline Affifi and Kay Taylor, who raised money for my treatment through dance events within their communities.

In fact, the fund-raising proved so successful there was a surplus of money, which Sara insisted be used to set up Just Because, an on-going charity aimed at helping Egyptian women with breast cancer. Its main target is to provide a mobile screening unit for women here who cant afford hospital fees. I wanted to pass on the generosity I had received to other women, in the country which has become my home, she says. Having breast cancer is a daunting experience anywhere in the world, but Sara insists she is glad that she went through treatment here and not back in the UK. Here’s why

I felt I had an enormous amount of support throughout my experience, while still being able to deal with it very privately. Within five minutes of meeting them, both my surgeon and oncologist had given me their mobile phone numbers, and were on call at any time. The process from diagnosis to the operation took four days. Throughout my treatment I was always told the truth, not bluntly but with kindness.

Having been here during much of Sara’s treatment, I can testify to the fact she is the kind of person that concentrates on recovery, while never making her ordeal a burden to others. On the contrary, she was still receiving treatment when we began work Journey of Desire A foreign Dancer in Cairo, a protracted project which could never have come to be made without her input.

Film has been my life, she says, when I ask in retrospect why she took on the job. The opportunity to combine that with the dance was something I couldn’t miss. Also to work with someone who feels as passionate about it as I do.

Working with a blundering, less-than-qualifiedfilm crew who at times had us tearing our hair out, it was often only Sara’s calm professionalism that saved the day. We also had fun in the edit suite – as anyone who knows her wicked sense of humour can imagine.

Cash limitations (which were serious!) pushed us to achieve more than we might have done, if everything had been easy she remarks. If wed had a bigger budget wed probably have made a more polished, but less interesting film. It all comes down to the fact that in Egypt, one has to be resourceful. Its one of the great things about being here.

To live successfully in Cairo you learn to cope with, and dismiss where necessary, the stress you routinely impose upon yourself in the West. You learn to improvise. You cant make excuses for your behaviour because there’s very little pretence and nothing to hide behind. You don’t have to save other people from your emotions – you express them! And these are all! things which Ive been able to do, because I’m a performer -things which, as performers, we must all address.

After living here for seven years, Id find it very hard to move back to Northern Europe. When I go there I see the pressure on people to spend money they haven’t got, and get stuck in a controlling world of debt. Egypt is still a bit like living in England 50 years ago. There’s still a mentality of mending things that break. Its a cash economy. Despite the fact the country has been under martial law since the time of Sadat’s assassination, one doesn’t feel controlled – on the contrary, you have a sense of being in charge of your own destiny.

The other thing I love about Cairo is its creative chaos. There’s never a no here – because there’s always a way round a no. The majority of Egyptian people are well versed in how to carry on regardless. Its not that they expect something new to be around every corner, but they are open to it. The expression inshallah! makes perfect sense to me. Because its so true, when you make an arrangement, anything can happen between now and then!

On an even more personal note, she imparts one more secret of living successfully in the city that never sleeps. I’m a smoker, so I don’t get stressed about pollution. I didn’t come here to live in a clean environment – I’m a city girl!

Sara does return each year to the UK to teach workshops, and goes in the winter to remind herself, she says, why she enjoys Egypt’s warm climate. She also teaches privately here in Cairo, and has a number of devoted students. With her emphasis on feeling and living the dance, not just on technique, she brings a unique slant to her classes which is hard to find elsewhere.
I love teaching, and I especially enjoy teaching Egyptian dance, because I think its quite a revolutionary thing to do. Its up to the students how much they take on, but it can be a truly life-changing experience. There’s nothing about this dance that diminishes people; the results are immediately rewarding. And the whole point about it is that its about individuals and not clique. Everyone is different, and it allows each person to discover and extend themselves.
Sara is an unashamed believer in Cairo as the source of true learning about Egyptian dance, and endlessly encourages those with a love of the dance to come here.

This is a solo woman’s dance which is actually expressing the heart and soul of this country. Considering the way many Europeans view the position of women in this society, that is really quite something. When it comes to foreigners coming here to perform or to visit, in essence I think its a good thing. There’s an enormous emphasis on learning about the dance and even about the history of Egypt, but not enough about just being here, and feeling the spirit of it.

If you want to have integrity and achievement as a performer you never stop learning about your art, and never think you are good enough. Egyptian dance changes all the time, and there is so ! much to know. The more often you can come and the longer you can stay the better.

She adds, with a straight face but a twinkle in her eye Besides, where else in the world could you be walking down the street and pass a woman with a cooker balanced on her head!

Quite so.

The post INTERVIEW WITH SARA FAROUK first appeared on Raksanna.

Yesterday was Day 2 of the course. Our warm up and folklore instruction was conducted by a new instructor, Bedra from Kalmaya Folklore Group. (Oh – by the way, it is very likely that I will butcher some names and phrases, it is not done with any malice; it’s just that my Arabic is very, very limited and I do the best I can).

Bedra presented two different styles of technique and choreography for us. The first was Gawazzee, and the choreography included stick and zills. It was very fun and sassy. Present day Gawazzee dancers, according to Bedra, are the ones that make their livings dancing in carnivals and on the road. They wear long dresses with tons of jewelry and have the primary goal of entertaining the people.

The second style of choreography was from Alexandria. This choreography told the story of the sailors coming into the dock and the people celebrating the ship coming to shore. The dance had pantomime in it to demonstrate climbing up the ropes and the style is extremely high energy. During this same section of class, Bedra also showed us Simsimaya dancing with spoons. A ton of fun!

After folklore, Randa taught a 90 minute Oriental technique section. We dove head first into five gorgeous patterns and worked through all of the details – from the head position to the movement of the eyes to the footwork to the hip articulations to the overall feeling of the movement. Once we had mastered a pattern, she had us drill it for an entire song. What a great feeling of accomplishment when she gave us two thumbs up because all fifty of us were synchronized and had every detail correct!

Lunch came and then came Saidi choreography. She taught a really fun choreography that she has been dancing with her orchestra. Complete with stick work and her legendary energy, the dance complex, fun and a wonderful challenge.

In all, we worked for seven hours that were chock full of information. Not only did Randa instruct us on choreography and technique, but she also offered insight and wisdom on how to use the stage, project your energy and more.

During the evening, I decided that I needed to stay in and rest up because today is filled with another 7 delicious hours, plus the competition tonight. My friend came to have dinner with me at the hotel and we enjoyed Italian (yes, I know – Italian in Egypt! Why didn’t I eat falalfel or schwarma!) and a beautiful piece of cheesecake.

Today, the agenda calls for more awesome technique and then modern Egyptian belly dance, plus Egyptian style stage make up. I am excited!

Oh – and on Friday, I am so pumped about dancing with Randa’s orchestra to Alf Layla Wa Layla. It is one of my all-time favorite songs and it is such an honor to be dancing with the orchestra and singer in Egypt to this well-loved Om Kalthoum ballad!

Until next time, hugs and shimmies!

The post Day 2 Course first appeared on Raksanna.

The post Isis Chronicals 2007 first appeared on Raksanna.

Imagine a beautiful hot summer day, sitting out on your porch enjoying the scene. To your right is a pitcher of ice cold water and four or five empty glasses. You pour the water from the pitcher into the glasses and empty the pitcher. You enjoy the refreshing drink and then head to the kitchen to refill the pitcher.

What does this image have to do with belly dancing? As a teacher, the analogy can be made that you are the pitcher. As you teach, you pour knowledge and creativity from yourself into the glasses of your students. Eventually, you realize that you are nearing empty and need to refill. Replenishing can come from a wide variety of sources such as seminars, videos and haflas to name a few.

Nourishment for the Body, Mind and Soul
One of the best sources for my personal and professional replenishment comes from the birth place of our dance art form: Cairo, Egypt. At least once a year, I travel across the ocean to train with the world’s top teachers and immerse myself in the culture. I come away from the experience a deeper person, a stronger dancer and a more developed artist. The investment in time, money and energy is absolutely worth it.

Cairo: A City of Modern and Ancient
Cairo, literally translated, means “The Vanquisher” or “The Triumphant.” It is also known as Al-Qahirah or Old Egypt and is the capitol of Egypt, with a population of approximately 17.2 million people.

Cairo is a very old city, officially founded in 751 AD, with a rich culture and heritage that traces its legacy back to the ancient hieroglyphics found in the Pyramids. Today, you can see the combination of old and new in every day life. The Pyramids – made by hand and human effort – oversee today’s industry and manufacturing. The streets are lined with cars, donkeys and horses alike and while restaraunts are primarily authentic Egyptian, you can find McDonalds and Pizza Hut in select areas.

Refilling the Pitcher: University Level Dance Training Sponsored by Raqia Hassan
This year and last (2007 and 2006), I attended Raqia Hassan’s Winter Intensive Teacher’s Course. Raqia is an internationally recognized teacher and producer of the world famous Ahlan Wa Sahlan belly dance festival that attracts nearly 1,500 dancers from across the world every June.

In December, Raqia sponsors a very special course: the Winter Intensive Teachers Course. It is designed to provide teachers with a full spectrum of styles, critiques and more. Because of its unique nature, Raqia intentionally keeps the class size small. This year, there were about 70 (seventy) teachers from more than 12 (twelve) countries including Latvia, Russia, Spain, England, Indonesia, China, Tawain, Brazil, Columbia, Switzerland, Sweden, Algeria and the United States. The course is absolutely perfect for one on one attention and for true immersion in the culture, the class content and the dance. The small classes are ideal for a rich dance education and the opportunity to build friendships with teachers from across the world that will last a lifetime.

Equivalent to a university level class, this rigorous course is 10 (ten) days in length and features daily belly dance classes from 9:00 am until 5:00 pm. Participants study with dance masters such as Raqia Hassen, Dr. Mo Geddawi, Randa Kamel, Dina and Momo Kadous (to name only a few) and delve deep into both folkloric and Oriental styles. Evenings are filled with lectures on topics ranging from the Golden Age of Belly Dance to important dance rhythms to Egyptian history to current issues and trends.

At the end of the course, participants earn their certificate from Raqia – a tremendous addition to any professional’s credentials.

Dance, Dance, Dance!
There are two major categories for Egyptian Dance: Oriental and Folkloric. Oriental style is characterized by orchestrated music (think Alf Layla) and may also feature modern music, depending on the dancer and choreographer. Folkloric dance includes styles such as Saidi, Nubian, Hagallah and Melaya to name a few.

One fabulous Oriental routine was taught by Nabil Mabrouk. He choreographed a beautiful, challenging dance to a gorgeous piece of modern music. The footwork was intricate, the movements graceful and the feeling oh-so-nice. Nabil’s teaching style is top-notch – he is a professional and expects professionalism from his students. Every minute of the class is utilized as much as possible – with instruction on the choreography, tips to improve technique and a steadfast commitment to expecting the best from the class. At the end of the workshop, he had us dance the piece three times – and each time, his expectation was that we would really dance the piece, not just mark it or walk through the movements. He also expected that, as professional dancers and teachers, we would hold the ending pose to accept the applause and wait for the lights to fade, just as they would if it were a full show.

Shalaby returned to this year’s course with a joyous, lighthearted Saidi stick (Raks Assaya) dance. He used traditional Saidi music, filled with melodic mizmar (oboe-like wind instrument) and rababa (grandfather to today’s violin) and happy, intricate footwork. His teaching style is very encouraging, friendly and good hearted. His engaging personality makes students give their best, even when the footwork is rich and challenging. Shalaby will repeat the movements as many times as you need and at the end of class, gives a fun performance of the dance so you can see how the dance looks in its entity.

For participants who love drums, Morocco (Rocky) had a nice surprise. Her choreography was sassy, picked up fun accents and is a great piece as a crowd pleasing finale. She made sure that students left the workshop knowing the choreography inside out.

Technique – the Foundation!
Dr. Mo Geddawi and Raqia presented great technique sessions. Dr. Mo discussed the importance of the dancer’s presence – how you can dance even with a simple walk. He coached us on body carriage, posture and poise. He discussed the different types of shimmies and led the class through a series of great exercises and combinations designed to fine tune the foundation and ensure a solid base.

Raqia’s technique session focused on entrances and the importance of the first impression. She worked with a beautiful piece of orchestrated music. Then, she went around the room and gave each dancer a chance to present her own interpretation of an appropriate entrance to the music. All of the students enjoyed seeing each other and also appreciated the opportunity to demonstrate her creativity to Raqia in a class setting.

Fun Time – A “Must Have” for the Complete Experience
As with any experience, it is important to have a healthy mixture of recreation with study. This years adventures took me to several places including a great performance by Reda Troupe at the world famous Balloon Theater and the Church area of Cairo. Raqia also treated the students to two great dinners, one of which was a Nubian and Zar show.

Reda Troupe Performs I had the fantastic opportunity to be the guest of Magda and Atef and see the Reda Troupe perform. Founded by Mahmoud Reda in 1959, the Reda Troupe is now supported by the government and they perform beautiful dances from different regions of Egypt. Magda and Atef were once performing dancers in the Reda Troupe and are currently directors.

Atef and Magda took seven of us to the show. We drove through immense Cairo traffic for about an hour and arrived at the famous Balloon Theatre. We walked a small alleyway to get to the theatre and then were treated to a stunning performance by the troupe. There are about 15 men dancers and 12 women dancers currently in the troupe, many of whom are my friends (Raghatee, Doa, Ibrahim, Alli and his brother, to name a few). The show included Hagallah (when the men dance for one woman and she chooses her husband at the end of the show), Saidi (a country style of dance that uses sticks), Oriental, Melaya Leff (from Alexandria by the sea) and a breathtaking grand finale of Nubian style dance that really got the crowd going!

Another evening activity was a great dinner and show. Raqia treated the conference participants to a mouthwatering dinner at a very nice restaurant. The buffet featured chicken, roast beef, pasta dishes, salads, vegetables and tantalizing deserts. After dinner, we were treated to an energetic show of Nubian dance, followed by a Zar presentation.

Nubia is located in southern Egypt (or Upper Egypt) and has an estimated population of 10,000. Their language is referred to as Nubian (Creole) and some report that the language is a mixture of Swahili and Egyptian Arabic, which comes from their association with Kenyan African Society. The music is very earthy, vibrant and fills your soul with joy.

The Zar dance is a theatrical presentation of a religious trance dance. Drums are used to play heavily and the dancer (traditionally male) spins and spins for what seems like an eternity, lasting up to 30 minutes. The goal of the dance is to go into a trance-like state and rid yourself of negativity or bad energy, similar to an exorcism. When put on the stage for performance, the dancer will spin and while spinning, do many things such as use tiers of skirts to make shapes like a top or a baby. It is quite gorgeous to watch and, from a dancers perspective, certainly a feat to keep spinning for so long! On this night, we saw both a single male dancer and two young boy dancers that were simply amazing!

The energy that night was amazing. Everyone (almost) got up and danced like there was no tomorrow. Spirits were high and playful and it was such a wonderful evening – a great treat in the middle of the conference that provided a much deserved night of entertainment and camaraderie!

Ancient Churches (Very Beautiful!) In Egypt, religion plays a major role in daily life. Approximately 70% of the country is Islamic, with the remaining 30% Christian. There are only 4,000 Egyptian Jews living in Egypt today, according to Bassem, my travel guide. Bassem, Claudia (my friend from Madrid, Spain) and I took a day to visit the Churches of Cairo.

The first Church we visited was the Church of Saints Sergius and Bacchus. It is a 4th-century Church and is considered to be the oldest of Cairo’s Christian churches. It is believed to be the home of the Holy Family (Joseph, Mary and the infant Christ), where they lived when Joseph worked at the fortress.

Then, we visited the Ben Ezra Synagogue. The synagogue was originally a Christian church that was sold by the Coptic Christians of Cairo to the Jews in 882 AD to pay annual taxes imposed by Muslim rulers at the time. The church was purchased by Abraham Ben Ezra, who came from Jerusalem during the reign of Ahmed Ibn Tulan. It was a place for pilgrimage for North African Jews and the site of major festival celebrations.

Our third and final church was The Hanging Church. Known in Arabic as al-Muallaqu (literally translated – The Suspended), it was built in the 7th century and is the most famous Coptic church in Cairo. Named for its location about a gatehouse of the Roman fortress in Old Cairo, it is suspended over a passage. To enter, you must walk up a flight of 29 steps. Both inside and outside, you are greeted with beautiful murals, icons and a gorgeous marble pulpit.

Sound Fun? Join Raksanna This June for a Life Changing Dance Vacation
I am honored to have been invited by Raqia to teach at this years Ahlan Wa Sahlan dance festival from June 27-July 3. Because my experiences in Egypt have made such a difference in my life, I am creating a program for dancers and teachers interested in traveling to experience the magic first-hand. To make sure that everyone has a great time, I’m keeping the group limited to less than ten.

If you are interested in joining me for a vacation mixed with dance, please send me an e-mail (Raksanna@raksanna.com) or give me a call at the Studio (630-978-1149). The US dollar is still strong and you will get a good value for your money.

More importantly, you’ll return home with a much deeper appreciation for our dance, meet wonderful people from across the world and have a more global perspective on life.

About Raksanna: Raksanna is a highly sought after, award-winning international dancer and instructor known for her energetic, lively personality. She has studied Belly Dance for nearly two decades and travels across the world to perform and teach workshops. She was nominated in 2007 for both Instructor of the Year and Favorite Cabaret Performer of the Year. Based in a Chicago suburb, Raksanna is a studio owner, event sponsor, a certified fitness instructor and personal trainer and holds a Masters degree from Clarkson University. She is available for workshops and is currently booking for 2008. For more information, please visit: www.raksanna.com.

The post In the Shadow of the Pyramids … Raksanna’s Annual Journey’s to Egypt first appeared on Raksanna.

When I learned Kay Taylor (Farida Adventures) was sponsoring Sara Farouk for her final Self-Development Intensive dance course, I instantly bought a plane ticket from Chicago (USA) to Edinburgh, Scotland and registered.

Afterward, I asked myself a valid question:

• Why did I invest significant money and time away from work right before the holidays to cross the Atlantic Ocean for study in a five-day, immersive dance workshop?

My answer was simple. I had three goals:

• Goal 1: Get inspired by increasing the depth of my dance
• Goal 2: Transform by getting out of my comfort zone
• Goal 3: Connect with and learn about myself to grow

Was I successful in my pursuit? Let’s find out.

The Teacher: Sara Farouk

If you’re not familiar with Sara, you should know her vast credentials include a formal post-graduate dance and theater education and a prominent acting career in film and television. She’s lived in Luxor and Cairo for nearly two decades and offers deep insight to Egyptian culture and context that is rare to find.

As a teacher, Sara is tough. She challenges you to rethink perspectives, provides you with specific, personal feedback, and coaches you to improve with suggestions and direction. Moreover, she expects you to give your best every moment, accepting nothing more and nothing less – and holds you accountable for your learning. Sara compassionately creates then fiercely protects a psychologically safe space to try something new, so you have the freedom to learn.

The Course: Immersion in Self Development

Different workshops offer different things. Choreography workshops give insight to how an artist approaches a piece of music, their interpretation of the meaning, and what patterns can bring a piece of music to life through dance. Technique workshops strengthen dance abilities, provide a solid foundation for the physicality of dance, and establish a framework for what movements represent a specific dance style.

What these two types of workshops have in common is the lens from which you learn: they are externally focused, where you look outside of yourself to learn from a teacher.

This workshop was fundamentally different. Sara did not teach a choreography or technique, nor did she want an externally focused lens.

Instead, this course was intended to foster self-development through…

• A safe environment where dancers receive open, honest and direct feedback on their personal dance,
• An inward-turned lens for self-reflection, discovery and artistic development,
• The opportunity to learn and apply new insight to develop one’s unique dance artistry, and
• Enabling dancers to tap into and express their authentic self through dance

And it started the moment I signed up.

I completed my registration, and immediately received an assignment: select a piece of Egyptian music I wanted to work on for a solo performance and submit it for approval. I chose the epic Gabar by Abdel Halim Hafez.

Mornings 1 through 4: The Egyptian Set

On the first day of class, I joined 13 dancers from across the United Kingdom. Two were friends I’d known for years, and the rest were new friends waiting to be made. It was a good mix of people and thankfully, there were no divas; we were all there to learn and support each other through the process.

Sara outlined the curriculum: mornings were dedicated to learning how to create a formal 30-minute Egyptian set, the logic behind it, and how to effectively engage an audience. Afternoons were allocated to our solo work.

Every morning started with a proper dance warm up. We focused on body alignment, opening our joints, and dissecting the impact of weight changes on dance movements. Then we dived hip first into the formal Egyptian set, which is comprised of three main sections: the entrance, starting with mise-en-scène followed by a classic piece; the middle section, typically a folkloric and/or modern piece; and the finale to finish performance on an exciting crescendo.

Sara introduced the section of the set we were working on, announced the song with which we were working, provided written lyrics and discussed the songs meaning, feeling and context. We’d experiment by improvising with the music. Then, we were assigned to groups that took turns performing for each other. Every day, we’d consecutively build the set:

• Morning 1 – worked with mise-en-scène, performed it
• Morning 2 – worked classical piece, performed mise-en-scène followed by classical piece
• Morning 3 – worked modern piece, then consecutively performed all three pieces
• Morning 4 – worked finale, then consecutively performed the entire set

Afternoons 1 through 4: Our Self-Study Pieces

After lunch, we shifted gears to our solo pieces. Each dancer performed her piece for the rest of the class. After performing, Sara provided the class with a translation of the words and cultural meaning to the song. She coached the dancer with specific feedback on what worked, what didn’t and direction on to how to improve.

We listened to each other’s feedback and learned. Those moments offered great gems of wisdom, lessons like ….

Learn how to be relaxed and in control at the same time …. What does this song mean? Are you really communicating what the feeling of the song like you’ve experienced these feelings? ….. You do not become a dancer because you take dance class once a week; you become a dancer because you are a dancer; it’s how you experience your life. You’re standing at the bus stop – but you’re not just standing there. You are consciously asking yourself – Where is my weight? Am I in parallel? How is my posture? What does this song make me feel?

After the initial feedback, the rest of the class danced the piece for the dancer while she sat and watched with Sara. Then, the dancer repeated her performance, which gave her the chance to immediately apply the learnings and get feedback. It was inspiring to see how quickly each dancer improved as she internalized and applied the information.

Day 5: Final Course Performance

We spent the first four days practicing and performing, which prepared us for the last day – Performance Day!

We were divided into four small group. Each group performed the entire Egyptian set for the rest of our colleagues, which let us engage with each other, enjoy our friend’s performances, and have fun. It was also a great warm up for our solo performances, which followed a brief lunch.

Sara announced the show line up, and we took our places in the audience. One by one, our colleagues danced their piece – and it was truly remarkable to witness the transformation from the first performance to the last.

Every single dancer, without exception, danced with more heart, confidence, and authenticity than ever. I was so proud of and happy for my friends – I felt such joy at seeing how much each of them had grown and improved their dance!

The Results: Was it Worth It?

Right now, I’m sitting on a British Airways flight headed home to Chicago, reflecting on my experience. I had my “what I want” goals for self-development and entrusted Sara with the journey. Here’s where I’ve landed.

The truth is we all have blind spots that undermine us. We cannot see them, although they are blindingly obvious to others. It is rare to find someone with the integrity and courage to point these areas out to us, coupled with our best interests at heart and the sole intention of helping us.

This is the brilliance of Sara Farouk, and her priceless gift to her students. By creating a psychologically safe space to learn, and providing credible feedback that is open, honest and direct, Sara turns the lens inward to make space for deep, fundamental change.

Goal 1: Get inspired by increasing the depth of my dance

My blind spot is I’m inside my head. When dancing without a carefully designed choreography, I default to the intellectual side of the dance – my mind thinks, what movements and combinations should I do next? What comfortable patterns can I dig up in moments of insecurity and uncertainty, when I don’t know what to do? It shows on my face and I’m not even aware of it.

This course taught me how to stop thinking in the moment and start being the music. The richness comes from listening to the music, hearing it with my ears and heart, and trusting the years of dance training will cause me to respond to the music with proficiency, musicality and personality in a way people will want to watch enjoy being with. After all, that’s why we dance, isn’t it? To create shared human experiences with others as we express something through the art of dance.

Goal 2: Transform by Getting Out of My Comfort Zone
Like a child who hasn’t learned to swim and is afraid of the water, improvisation is out of my comfort zone. And, like the parent who throws their child in the water to help them get over their fear and learn to swim, Sara threw me headfirst into uncomfortable territory.

Improvisation happened because I knew only the first of the four pieces of music in the Egyptian set. Sara showed me my blind spot (being inside of my head) and challenged me to stop thinking and start listening and hearing the music.

Ah-ha! I had a plan! I’d choreograph at night and come fully prepared to class the next day!

Well, after six hours of dancing and wanting to connect with friends over dinner and wine, I realized my plan was foiled. I had to learn to embody the concept Sara taught us about being relaxed and in control at the same time.

To be clear, Sara also taught improvisation does not mean being unfamiliar with the music. In fact, her expectation was for us to listen to the music and get familiar with it. Now that, I could do. I played the music when I got ready for the day and listened before I went to sleep. That way, I could strategically map out certain places with an idea for movement while understanding the feeling behind the music, so I could express it with dance.

Voila! By the end of the course, the discomfort lessened. I can honestly say I got out of my head and into my heart when I performed the Egyptian set the last day. It was fun!

And I have committed my next step as learning one new piece of music every six months well enough to be dance improvisation to the song.

Goal 3: Connect with and Learn About Myself to Grow
None of us likes to expose our weaknesses. It makes us vulnerable and people can use it against us. We create defense mechanisms, so others won’t see what our true feelings, our authentic selves, and we’ll be safe.

The problem is people see right through it. Especially in this dance form, we cannot hide who we are.

My defense mechanism is joy and happiness. I tend to disconnect with painful emotions because they hurt, and I don’t like that.

Consequently, I can dance with a smile on my face and a song in my heart, no problem!

Except, I chose Gabar as my song. I researched the English translation to the lyrics and choreographed a great piece to Gabar, which according to my source, meant amazing.

Imagine how surprised I was to learn, after (literally) waltzing on the dance floor with my happy, joyful choreography, that Gabar means ruthless, cruel.

This song is about loving a ruthless person who cruelly betrays and wounds with full force. Dancing with awe, joy and amazement on my face was the complete opposite and frankly, looked foolish in retrospect.

Great opportunity to self-develop. As I turned that lens inward, I required myself to honestly ask if I was willing and able to Go. There. Was I willing to go back to a crushing experience that kicked me in the gut, ripping my heart out? The pain was too intense; for survival sake, I buried those feelings way down deep, like a buried treasure never to be found.

Was I willing to Go There – and then expose it, leaving myself vulnerable when I danced … because you cannot hide in this dance.

And IF I was willing, would I lose control and end up in a weeping mess, incapable of dancing?

As I considered these questions, another one arose.

One of my core beliefs is authenticity – owning who we are, embracing our perfect imperfections and every aspect of who we are, and loving ourselves because of it. I also believe I can only ask something of someone if I ask the same of myself. Every week in class, I ask my dance students to emotionally expose themselves.

• Do I have honor for my values?
• Or am I a hypocrite and only apply my values to others?

If I truly believe in authenticity, and I’m not a hypocrite, it’s an obvious answer. Yes, I had to Go. There.

And I did. At night, I’d revisit and explore the feelings. Not in the safety of an intellectual examination, but raw feelings. What did they feel like? Where were they in my body? Did the lyrics of Gabar resonate? Where did the music reflect my feelings?

And how could I relax into laying down my normal defense mechanisms to tap into emotions buried deep inside and expose my heart to my colleagues when I danced?

Was I capable of this, and could I trust myself to not collapse on the dance floor?

How could I relax into emotional vulnerability and remain in control at the same time?

And, please remind me, why did I sign up for this again?

I’d like to say I remember each step of the way and could offer an easy step-by-step, wash-rinse-repeat process. I cannot.

Here’s what I can say. I have a ritual I practice every time before I perform. I ask Source to connect with me, to work through me, so I can connect with the audience in a meaningful way, to touch them on the soul level.

It was my turn the last day of class. I approached the stage, practicing my ritual – only this time, I added a special heartfelt request. I asked for the courage to share my emotions, and the strength to hold my physical and emotional space so I didn’t collapse either and offered a strong performance.

I took my place, and the music started. I felt my body moving, incorporating the changes to the dance from the feedback – strategic areas of improvisation layered into a well-planned choreography – and let my heart go to the wounds and pull the emotions to a layer beneath the surface, while I looked each of my friends in the eye and shared pieces of my broken heart, connecting my mind, body and soul through dance. I felt goose bumps as my friends watched, experienced and shared the moment with me.

The music ended, and I heard clapping and felt the love of my colleagues wrap around my being.

It wasn’t until that evening when a colleague shared with me how much she was touched by my dance that the tears came, releasing momentary control.

Yes, I achieved my goals.

Yes, it was worth every moment and every sacrifice.

The investment of time, money, and effort paled in comparison to the inspiration, transformation and connections I received in return.

Sara, Kay, and all my colleagues in this course, you made a difference.

Thank you for a meaningful moment in my dance life.

About the author | Raksanna is an internationally known performer, teacher, and artist of Egyptian dance. Her credits include producing and directing Confessions of a Belly Dancer, her touring show with stops Off-Broadway, NYC (USA), and The Fourth Pyramid: The Life and Legacy of Om Kalthoum, authoring six published works, and the creator of several award-winning choreographies for soloist and group work. In 2004, Raksanna began traveling to Egypt twice a year to study and train with the world’s best choreographers, dancers and teachers. She has taught workshops and performed in Egypt, Israel, Germany, Belgium, France, England, Canada, and throughout the United States. She resides in Chicago (USA) where she teaches weekly classes and directs her award-winning dance company, Raksanna’s Desert Flames. Connect Facebook with Raksanna Raks Sharqi or visit www.raksanna.com.

The post Inspiration. Transformation. Connection. first appeared on Raksanna.

I had been teaching fitness classes, such as aerobics, kickboxing and Pilates, for a little over 10 years. As part of my certifications, continuing education is mandatory and each year, there are huge industry conferences where you can attend classes and meet the continuing education requirements. In 1994, I was living in rural upstate New York and traveled to Manhattan for a conference. One of the class options was “The Goddess Workout” with Dolphina of California. I thought, “Hey, I’m a Goddess! I better see what this is all about.” Dolphina taught an introduction to belly dance with basic movements, followed by a beautiful veil dance. I instantly fell in love!

Where I lived at the time, there was no access to teachers (I was about 10 hours north of NYC), so I devoured all the videos I could find. Soon afterward, my family moved to Chicago for work requirements and I went from teacher to teacher, learning what I could, until I found Jasmin Jahal. I immediately connected with her as both a student and as an individual; I studied with her ever since. Even today, I attend weekly classes for consistent, high quality training (she truly is one of the best in the world!) and supplement regular classes with workshops and seminars across the country. In addition, I travel to Egypt at least once a year to study with Raqia Hassan in her Intensive Teacher’s Course.

Tell me more about your training in Egypt.

My training is very specific to Egyptian style belly dance. Throughout my dance career, I’ve heard so many times, “It’s about the spirit.” I did not really realize what was meant by that statement until I had the chance to travel to Cairo and experience the Egyptian spirit and life first-hand. There is such joy and passion in every aspect of life and it is translated into the dance. I travel to Egypt to emerge myself in the culture and the people and to continue my dance training.

Raqia Hassan (internationally known and highly sought after teacher, choreographer and producer of the annual Ahlan Wa Sahlan festival) hosts an Intensive Teacher Training certification each December. This course is simply amazing. For ten (10) days straight, participants learn from the world’s greatest Dance Masters (such as Dr. Mo Geddawi, Randa Kamel, Dina, Beba, Magda and Atef and many others) from 9:00 am – 5:00 pm, with only 30 minutes for lunch and an hour dinner break, then attend lecture from 6:00 – 9:00 pm. The final evening is a student show, followed by a show from one of today’s top dancers. Last year, Dina and her full twenty-seven (27) piece orchestra performed for us.

The entire course is a life-changing event for me and is the primary reason I go back. I’ve made many deep friendships with dancers from all over the world and the course gives me the chance to reconnect in person.

If a dancer is serious about Egyptian style dance, then I highly recommend participating in this workshop. It is well worth the investment of time, money and effort – and you will leave a much different person and dancer than when you first arrived.

You’re on the competition circuit. Tell me about the advantages and the disadvantages of competing.

Based on my experience, there are two routes that you can take as you progress through your dance career: artistic and competition. Both are wonderful and both serve distinct and delightful purposes.

The competition circuit gives you the chance to meet wonderful dancers and artists from across the country. From a personal perspective, this is a wonderful benefit as I’ve made several great friendships I would not otherwise had the chance to establish. From a dancers’ perspective, you get exposed to other styles of dance, new ideas and a taste for the local flavor where the competition is held. Also, you get feedback from different perspectives on what your strengths are and where you can improve.

One of the best pieces of feedback I have received is with regard to costuming. I am a voluptuous dancer, with more curves than most professional and/or competitive dancers out there. I competed in several events and wore the “normal” bra and skirt costume. Judges told me that I would look better in either a pants suit or a full dress. I took their advice and the impact was amazing. The next competition I participated in, I placed – not only because of my performance that evening, but also because the fuller coverage accented my body and provided the complete package.

The disadvantage … well, I’ve seen some dancers participate in competitions and place so much importance on the competition performance that they lose perspective of their entire talent base. Instead of realizing that a competition performance is a snapshot at one single moment of time, as opposed to a statement on who they are or their value/talent as a dancer, I’ve seen women internalize not placing or winning and really beat themselves up. That’s the hard part. I honestly feel that, if you pursue the competition circuit, you have to do a lot of mental exercise to keep everything in perspective and embrace the journey for what it is – an opportunity to perform, get feedback and meet many wonderful women.

In addition to performing, you own your own studio where you teach weekly classes and are sponsored for seminars and weekend workshops. What is your teaching philosophy and why are you drawn to teaching?

That’s a pretty deep subject for me and it reflects the way I look at life. These days, it seems like there are very few times when we feel connected and a part of a community. We wake up, hurry off to work, come home, gulp down dinner and either head off to dance class or fall into bed and wake up to repeat the process. This harried lifestyle can lead to a slow death – where there is little emotion, surface relationships and a seeming isolation from others as well as our self.

When I teach, I make a concerted effort to touch each student personally – to make the connection on the individual level and help each dancer increase her technical proficiency, express her through new choreography and feel even more confident as a dancer – and as a person. It’s my responsibility as a teacher to bring out the best in each student and to encourage her to be the best dancer she can be.

It is the same when I perform. People who attend shows have paid for a ticket. They want an experience – something out of the ordinary. You never know what their day was like before they come to see you …. They may have had the most wonderful day, but maybe they just ended a huge argument, heard negative news about their health or had a day they’d rather leave behind. It’s my duty as a dancer to touch each audience member on the soul level – to give them joy and let them walk out a happier person than when they walked in … happier, because they’ve shared an experience with me and because the dance has brought beauty and art into their lives, even if only for a moment.

Why am I drawn to teaching? My greatest thrill and reward in life comes from seeing others embrace who they are, fall in love with themselves and become strong, beautiful individuals who believe in themselves and know their worth – regardless of their age, weight, beauty, economic status, whatever they previously held as their limitation. I’ve seen so many women’s lives change for the better through dance and it gives me great joy to know that, in some small way, I was part of their journey to great esteem and self worth. That’s on the personal side. On the dance side, I absolutely love to see choreography bring music to life through a dancer’s movements. I believe if we create art through dance and send good energy out into this world, the world becomes a better place for all of us.

You own your own Studio. Tell me how that came about.

After graduating from Clarkson University with my Master’s Degree, I worked for a Fortune 5 company for six years, making my way up to Vice President of Marketing and Communication. Although I enjoyed my work, I realized that my true passion is dance and fitness, so I opened my own Studio and worked both at the corporate job and the Studio for about a year. Once the Studio was able to support me coming home, I left the corporate job to teach and run the Studio full time.

My husband, David, was recently able to leave his corporate job as well. He now handles the back end side of the business (accounting, marketing, operations) and I teach classes and do the creative work. I could not do it without the love and support from this wonderful man, my husband and best friend of nearly 20 years.

My son, Tony, has also been a tremendous help. From working back stage in shows to understanding when the Studio demands so much time, he truly is a gem. I’m grateful for these two men in my life.

Who are some of today’s artists who inspire you the most?

Randa Kamel is absolutely amazing! She is like a lightening bolt of positive energy; I feel a very strong connection with her. Jasmin Jahal continues to bring me to new levels, constantly striving for excellence. Dr. Mo Geddawi is simply delightful with his elegance and grace and creates beautiful Oriental choreography. Nabil Mabrouk instills precision and discipline into his work. Magda and Atef, who are husband and wife, and Shalabee, have taught me many things in the folkloric and Reda style. And of course, Raqia Hassan challenges me (in a great way!) with technique and rich choreography.

What three gems of wisdom would you share to other dancers out there?

• Know what you want from the dance and embrace it. Looking for fitness? Enjoy the movements and the training, feel like a beautiful goddess and celebrate your success! Dance for recreation? Set fun goals and jump into new dance opportunities! Going pro? Talk to other dancers who make their living through dance, learn from their wisdom and train, train, train.

• Love yourself and take care of yourself. All too often, society promotes an unrealistic vision of “perfection” and “flawlessness” that is unattainable. Block out those damaging images and messages. Recognize and celebrate your strengths, look at flaws and imperfections as what makes you unique and an individual and love yourself. Take care of yourself mentally and physically (Mom was right – eat your veggies!).

• Be the magic. Jasmin learned this from her teacher, Ibrahim Farrah, and passed it down to me. When you perform, become the music. Touch your audience. Create magic for them and for you … by being the magic.

Raksanna is available for workshops and performances. For more information, please visit www.raksanna.com or call her at 630-978-1149.

The post Interview for Jareeda first appeared on Raksanna.

That’s the reason when aspiring dancers ask me for advice on how to make it on the workshop / seminar circuit, my answer is always the same:

Be there. You have to spend the money to travel, participate in and support other artists’ workshops, seminars and shows in order to meet people and build real relationships. This is how you get invited to be there – by being there.

The same holds true when you have a fabulous show you want to take on the road. I’ve been producing the theatrical adaptation of Confessions of a Belly Dancer © ™ and have successfully sold out shows Off Broadway in NYC, Chicago and Kansas City. Plans are in process for the tour to continue in 2015.

Now, holding a show in your own neighborhood can be tricky. With so many events and ‘friendly’ competition between dancers, teachers and event sponsors, it can be difficult to have a successful event in your local area. When you decide to go someplace else, and hold an event in someone else’s ‘territory,’ it’s easy to run into devastating obstacles and debilitating challenges.

How do you overcome these issues?

The secret to the success is simple. Build and maintain genuine, authentic relationships with fellow artists.

If I Can Make It There, I Can Make It Anywhere

In NYC, for example, several amazing women stepped up to the plate. Carol Tandava Henning, who produces her spectacular one-woman show Blood on the Veil, took on our PR efforts. She connected us with her PR agent and, through her Platinum Sponsorship, made it possible for us to reach both mainstream and niche media throughout NYC. She led meetings, provided local ‘on the ground’ support and directed the follow through necessary to achieve our goals.

Queen Esma and Katrina Eady, both Gold Sponsors, made it their personal mission to fill the house. They took posters and fliers all around Manhattan – posting materials in restaurants, bars, Middle Eastern establishments and dance studios across the city. They tirelessly spread the word through the dance community and built energy and excitement about the show.

The beautiful Jehan Kamal and Belly Dance America, Platinum Sponsors as well, provided amazing support. Hanna, Jehan’s husband, helped us spread the word through the Belly Dance America network. Jehan reached out to friends and mentors, such as Phaedra and Samira whom I consider the NYC elite, and I was so honored to have them in the audience.

The result was a full house, AND support from artists who were also part of the show. We met amazing, talented dancers who gave their artistry and hearts to Confessions and really made a special dream come true.

I’m Going to Kansas City, Kansas City Here I Come!

Kansas City was just as spectacular. Theresa Maze and her husband and drummer, Ed D, were our ‘on the ground’ ambassador and our Platinum Sponsor. They worked with the theater, managed local logistics best handled in person, secured us sponsorships with local venues such as Uptown Arts Bar, the beautiful location where we held our photo shoot. They put in countless hours distributing fliers, making phone calls, holding local meetings to answer questions for dancers interested in auditioning for the show and creating the environment for success.

Theresa connected us with a local PR professional, Jenn Harris of Createful Studios, with strong connections in the mainstream and LBGT community. Jenn’s connections in the LBGT community were important because a pillar piece in Confessions openly discusses transgender in a very personal, meaningful way. Theresa and Ed D opened their homes and their hearts, and put in the time and effort that guaranteed success.

Once again, Confessions played to a full house of both belly dance and mainstream community members, with an international cast of amazing dancers who were part of an important piece of work.

Not Just In Dance

These experiences taught me the universal truth of genuine, authentic relationships built on mutual respect and trust is the key to making dreams come true.

Not just for an artist aspiring to build a career on the workshop / seminar circuit, Not just for a producer who wants to take a show on tour. No, it’s the key for much more. Truth be told, it’s one of the primary keys to life.

After all, if we’re not here to create relationships that build each other up and elevate our spirits and our art form, then what’s the point?

Be there. And generously give back.

About the author: Known for her energetic, powerful and fun-loving original style, Raksanna is an award-winning, internationally recognized Middle Eastern dance artist.  She is a highly sought after educator and workshop presenter and travels the world, teaching and performing at premier festivals and in intimate workshop settings.

She is the artistic director of Raksanna’s Near East Dance Ensemble, the author of the series Confessions of a Belly Dancer © and the executive producer and director its’ touring theatrical adaption.

For more information about Raksanna, visit www.raksanna.com or send her an email at raksanna@raksanna.com. She loves meeting dancers from around the world and sharing the passion for dance! You can purchase any of the books in the series of Confessions of a Belly Dancer © at www.lulu.com/Raksanna and learn more about the show at www.confessionsofabellydancer.com.

The post The Secret to a Successful Show on the Road By Raksanna first appeared on Raksanna.