thoughts

My parents sent me to dance classes to encourage my self-esteem and confidence way back in 1973. I was classically trained, well disciplined and controlled in my dance. It is only in my more mature years during a crisis point in my life that I discovered escapism in Arabic dance. With this came the much sort after self-esteem and confidence in endless quantities, the moment I lose myself in the fusion of music and movement. It is through this cathartic addiction of mine that I am able to become the sensual, attractive and self-confident person that our society requires I repress and doesn’t always encourage in a woman.

Dance is the one thing that can span culture, recreation and communication. Although its origins are lost in prehistoric times, its social attributes are still endless whether ritual, tribal or just a boogie at the local club. Its effects are infectious, uninhibiting and exhilarating.

Dance is and always has been the universal language.

In many instances Egyptian dance steps are remarkably like steps in classical ballet. It is therefore ironic that my personal discovery of dance began some 30 years ago with the modern forms of ballet, jazz, tap and contemporary etc. My basics of ballet have been very useful however, due to their foundations being in Arabic dance’s blueprint, it has meant that I have been able to fast track a lot of the technique, yet thrive with my own passion and interpretation.

Much of my professional dance experience was in Greece, where it became apparent that the myths associated with the Greek god Dionysus have many similarities to those of the Egyptian Osiris. This might suggest that ancient Egypt influenced early Greek culture. Greeks have always believed dance promotes physical health and has a positive influence on one’s education.

Traditionally girls would learn dance, not through tuition, but by emulating the moves of the women around them. As dance is no longer the social activity it once was and we as westerners are more subdued in our public displays.

women to feel positive and acknowledge themselves as the feminine, sensuous and creative beings that they truly are. Many countries including Egypt use belly dance moves to aid the body in preparation for childbirth…why then did I wait until I was matured, greying and post-children to invest myself in the fulltime promotion of this art form? Some things will always be a mystery!

The abdominal, hip and lower back motions are excellent both pre and post birth for regaining muscular elasticity and toning the pelvic floor. Losing oneself in the rhythmical moves is in itself a form of intoxication and therefore, surely pleasure can never be very far away?

To date Arabic dance has not been codified or notated, as have other dance forms such as ballet. Different teachers name the references to many basic moves in a variety of ways. Many of our dancers in this dance form are entirely self-taught and there are few recognisable standards of the dance. In many ways this has held Arabic dance back from the credibility and recognition that it deserves. It does however mean that it has not become uniform, stilted and staid in its interpretation and therefore, has many highly individual attributes. It is in finding this balance and encouraging our children and adults to learn this ancient and beautiful celebration of being, that I have now given up my fulltime (and well paid) occupation to help in raising the profile of Arabic dance. I hope to open up an anatomically safe and concise method of learning for our children through the use of my own children’s syllabus. Unfortunately, belly dance does sometimes still have something of a social stigma, but promotion and education is key to changing this perception. Anthony Sattin (writer, critic and broadcaster) was quoted as reporting ‘the majority of young Egyptian girls asked in a recent survey all cited Fifi (Abdou) as their role model. Belly dance is very much alive and rippling’

My message to you all then, is ‘smile, shimmy and ripple on!!!!’

As expressive dance is declining as a popular activity in many places, it is important we extend our knowledge base to the youngsters to aid their self-esteem and belief in themselves and keep the tradition of the dance alive.

In my own teaching I endeavour to encourage my dancers (aged 3-76 currently) to accept and appreciate themselves for whom and what they are and their experiences of life. It is important to celebrate the years of experience their bodies can promise and may already hold the scars and memories of. Only in enjoying one's own physical form and life experiences can we ever feel truly content with whom we are. I believe this teaching is vital and must be offered to all ages including our children.

Dance for me has never been about physical exercise, but about unblocking energy, releasing tension, liberating creativity and inspiration. I feel that Oriental dance particularly, is perfect for

		Celebrate the Benefits of the Dance