What people have to say about Hadia's Teacher Training Workshops

"Secrets of Dancing like a Queen with a Professional Arabic Orchestra" June 24th and 25th, 2006
by Joanne Pico

As a girl whose goal is to become a Professional Belly Dancer, I know that I will need the proper instruction to make it all become reality and to be able to perform the art properly. I have enrolled myself in a few classes locally so that I can start on a journey to learn this art and all it has to offer. Both of my teachers here in Edmonton have taken different courses with Hadia and have often recommended her and spoken very highly of her work.

After hearing so many good things about her I decided to go to her website to find out more about her. First I read up about her to find that she has a long list of prestigious accomplishments and world recognition as a performer, master teacher and choreographer. She was very well educated as a student, which is why she has so much experience to share as a master instructor and choreographer today.

On the website I see that she offers opportunities like no one else: Her Fully Certified 3 Level Teacher Training Program made accessible in various locations throughout Canada, the US and soon Europe; Professional Oriental Dance Training Courses; International Workshops which she teaches Worldwide in 4 different languages; flamenco workshops; world recognized and recommended instructional DVDs and adventures to Egypt, Turkey, Acapulco, Bali, Brazil etc.

These are all fabulous opportunities for people who want to go to these countries to further their belly dancing experience, while they get to do and see all the things that you would want to without all the hassles of being on their own in a foreign and unfamiliar country.

I was completely amazed by her, her experience and all she has seen and done as a dancer. She agreed to allow me to come to Montreal to participate in the workshop "Secrets of Dancing like a Queen to a live Arabic Orchestra", which was part of her first annual professional training program for oriental dance. Although the course had been sold out for over a month already, I was so happy to be able to attend this workshop, which no one has ever done before. An entire professional 6 piece orchestra there for us, just to help us to understand, to hear and to feel this beautiful and real music was a huge opportunity.

When I arrived the workshop was split into a 2 full-day sessions. Hadia and the Orchestra (master drummer Joe Nachef, and his bothers Elie and Alex; Sami Rizkallah, the Nai player: Fadi Akiki, the accordion player; Charlie aka. Salim the violin player and Nizar Tabsharani, the Qanoon player) greeted the studio full of eager-to-learn dancers from all across Canada, the US, New Zealand, Yugoslavia, Hong Kong etc.... and began their work.

Each Musician told us about his training and his history, including the great dancers that they had worked with in the Middle East, as well as very interesting details about his unique traditional instrument. Then he played a beautiful and flawless taksim, which is pure improvisation on the spot. It was amazing to hear each on its own, to loose yourself in the music and fly away with each instrument's unique and beautiful sounds.

This gave me a real appreciation for how the musicians carry out the flow of rhythms and melodies for the dancer to express with all her feelings. Hearing these various traditional Arabic instruments separately such as the accordion, oud, violin, nay and qanoon was simply incredible. As beautiful as music can be from a CD, it could never replace the feeling you and your audience will get when you get to hear and dance with a live Arabic Orchestra.

The workshops gave us an amazing introduction to interpretations of Oum Kalthoum, Baladi Eshra, Taksim and other classical favorites. Joe and Hadia also went into detail about of technique Structure & communication for dynamic and improvised drum solos. In this workshop you get an idea of how to listen to and interpret the rhythms as well as to interact and communicate with the music, the musicians and an audience. We also worked with the Zills (Finger Cymbals) learning to answer the drummer's combinations with our cymbals, or vise versa. It was very tricky, but became easier and more fun each time.

The musicians at the workshop took my breath away, both when they performed individually, then all together with such feeling, understanding and obvious mastery and love of their music. Hadia would first tell us about how she felt and moved to the different instruments. Then she show us an example of how to dance to each new type of music and instrument as well as how to improvise during a drum solo ALL with grace, beauty, relaxation and fluidity, perfectly intertwining with the instruments. It was the most beautiful sight that my eyes have ever seen with sound that my ears have ever heard. Hadia really did transform the music into her movements. Then we would all get up and try to improvise to the same music. While we did this she would move through the room, dancing with each one of us, helping and guiding us individually.

It was all so touching and moving to be a part of this that I had to hold back my tears of happiness. I have never had an experience quite like this before. I highly recommend this entire workshop to anyone who wants to take belly dancing seriously. Hadia, Joe and everyone in the orchestra were simply unforgettable.

I have purchased Hadia's instructional DVDs, as I could not travel home without being able to bring Hadia back with me and learn from her every day on DVD, even though I live far away from her. She has many workshops and programs that I plan to attend in the future also. I will work very hard this year in order to be accepted for next year's professional training course in Montreal. She is an amazingly inspiring, wonderful woman. She dances beautifully and her love for the art shines as she moves.

There is so much that I and many others can learn from the knowledge and expertise that Hadia is now sharing with thousands of students all over the world. I am honoured to be one of them and look very much forward to everything that I will be learning from Hadia in the near future. She has wonderful teaching methods and I and many others highly recommend her to anybody who wants to pursue this dance as a career. She is some one whom you can trust and know that she is teaching you properly and accurately, happily sharing over 30 years of knowledge and expertise of this beatiful work of art we all love... this "Dance of the Orient" "Raqs Shaqi".

Thank you and happy dancing!

2006 pro course

I learned that an Oriental dancer needs to be multi-faceted. It is not enough to be skilled in one or even a few areas. The dancer needs to be the visual embodiment of the music and even needs to be a musician herself.

...I learned about staging - different performance venues, and how important entrances and exits are to the professionalism of the performance.

I had the rare opportunity to work with live musicians to learn nuances of various instruments - how they look and sound and the feelings they invoke and how that translates in movement. I worked extensively on improvisation techniques, which affirmed the importance of movement technique as a base. I learned dance technique that respects the health of the body so I’ll be able to dance for a long time in my life. I learned so much about playing music, too, with finger cymbals. It’s a whole study in rhythm and is an instrument in its own right.

My heart is captured by this rich, beautiful and emotional art form. My experience at Hadia’s training program has taken me to a new level of performance and love for Oriental dance. Hadia taught a wonderful dance from her own repertoire...I look forward to sharing this dance in performance. More than that, I look forward to using my new skills to create my own dances. I am so inspired!

I first met Hadia last year in my home country, New Zealand, last spring. I had heard many great things about her and she was very highly recommended to me by a friend who had attended a number of her workshops and dance training retreats held in Turkey and Acapulco. I was very happy to attend her class at the Medanz Festival, held in Wellington, and really liked her teaching style and skills and decided that I wanted more.

I found out through my friends that Hadia was offering audition a 10 day intensive Professional Oriental Dance Training Program in Montreal, Canada, this summer. I sent off my audition tape and registration and was very excited when I heard that I had been one of only 15 students that Hadia had accepted into this course. The other students came from all over North America and as far away as Hong Kong. The dancers had unique and individual styles, but were all very accomplished artists. I was impressed with the competence, skill and quality of my classmates, but the Montreal ladies, most of who studied regularly with Hadia, impressed me the most. They were already such beautiful dancers and so professional, as well as very friendly and sharing. Actually, everyone there had such a positive and supportive attitude, which seemed to fit very well with Hadia’s unpretentious and generous personality and approach to teaching. This helped hugely with confidence building and made the experience and the new friendships that developed very special to all of us.

I suppose that you could call me a bit of a workshop addict, as I have studied with virtually all the top teachers and I have learned many wonderful things from them. However, most of these workshops have been choreographies, some with technique breakdown, some without, but this was the FIRST time ever that I actually received information and tools that could help me become a better dancer and to TRANSFORM MY OWN PERSONAL STYLE of dancing, presentation and performance, which made this perhaps THE best learning experience I have had to date.

Hadia’s 46 hour, 10 day course was very complete. Although at times, I was not totally sure what she was up to, the entire program actually fit together as a very complete package, covering a wide range of topics with a lot of variety. Her teaching technique is unique - fun and highly effective at the same time. Hadia is truly a Master Instructor with a depth and breadth of knowledge about this art form that I have not encountered before. She is also a highly skilled registered massage therapist, which allows her to present very complex technique in a really simple and logical way, clearly explaining and teaching us how to find exactly which muscles we need to create our movements.

I had also heard that Hadia is an award winning choreographer and this skill was clearly evident in her interpretation of Layali Zaman, a complex piece of traditional oriental music produced by her friend and colleague Sahra Saeeda. Her choreographed sections were complemented with sections of individual and personal improvisation. She managed to somehow guide us through these improvised sections, giving us ideas and inspiration but still encouraging us to let what was inside of us come out in our own unique ways. Her approach and delivery was so sensible and easy to understand. And she is such a genuine person, very easy to talk to and such an engaging instructor.

Hadia also worked with each student to address each of our own particular needs and issues. She has an uncanny ability to “see” and understand exactly what needs fixing and the ability to tell us exactly HOW to correct it on whatever level it may be.

The 10 day program also included a weekend workshop for with an entire six piece Arabic orchestra, including qanoon, accordion, oud, nai, violin, organ and percussion. For two days we had the unique, unforgettable and highly enriching experience of learning with these consummate musicians, who had all played for the great Arabic dancers in Lebanon before coming to Montreal. Her partner in crime, Joe Nachef, is a phenomenal and charismatic percussionist who surprised us all with his hidden talents as a singer and oud player! Each musician told us about his instrument and its history, his training and experiences, then played a taksim solo for us. Hadia then explained her relationship with the instrument, how she feels and translates this through her movements and then danced a taksim with the instrument. Then she helped us learn to interpret and express these instruments as we explored improvisation.

We also had a few jam sessions with the entire orchestra playing together. There is nothing more incredible than dancing with live musicians and to have an entire orchestra in a studio for a dance class was a totally unique and awesome experience. Joe and Hadia also did a fabulous job taking us on a tour of the base rhythms for drum solos and explained from their different points of view how the lead drummer and the dancer run through accent progressions. They would again demonstrate a section together, then run through it again while Hadia helped us with our technique and gave us ideas. Their final finger cymbal/drum call and answer game was way too much fun and opened up all kinds of creative possibilities to us.

Hadia also hired a singer for us for one class, to sing and interpret the words to a couple of Oum Kalthoum’s songs. Understanding and interpreting this Diva of classical oriental music is a fundamental part of any professional dancer’s education. Understanding the words for the songs and listening to the singer helped me to really connect to the meaning of this music for the first time.

For the grand finale for our 10 day of hard work, we were able to showcase what we had learned with a performance at a small and intimate club. The place was absolutely packed, the audience was fabulous and most of us performed our auditions pieces to give as a real “before and after” experience. I could see that we had each grown through our time and training with Hadia. The show was highlighted by Hadia’s dynamic and powerful performance to our workshop music Layali Zaman followed by Huwa Sahiyah, her favourite Oum Kalthoum. She was fabulous!

And Montreal is a fantastic city! Boundless creativity, a wealth of cultural activity, fabulous restaurants, character, European charm and unpretentious, creative, individualistic people (an appropriate place for Hadia I would say). Hadia also organized a group outing to a performance by Joaquin Ruiz, who has just arrived from Spain as the feature artist in Montreal’s Annual Flamenco Festival. It was a real eye opener to see such a level of professionalism and mastery of an art form. Hadia is also an accomplished flamenco artist and after seeing the caliber of professionalism of this art form, it does not surprise me why she sets her standards so high as an oriental dance artist.

Hadia’s Professional Oriental Dance Training Program was such a rewarding and enriching experience for me that I will certainly be studying with her again (possibly in Acapulco in December or in New Zealand in February). I would also love to take her program 2007. Next year Hadia has expanded the Professional Dance Training program to begin with an additional 5 days of training in her unique technique. This was a very wise investment of my time and money. Thank you Hadia for providing me such an incredible opportunity!

Teachers Intensive with Hadia
by Belinda Ferguson

I don’t usually travel very far for workshops because of my own time-commitment to teaching. But if one plans to teach well, one must be willing to continually learn. Therefore, this July when I found myself with an assistant that I trusted well enough to teach my classes, I took the opportunity to fly to Ottawa and attend a four-day intensive Teachers Training Level One with Hadia.

Hadia is one of my biggest inspirations in Oriental Dance. I respect her work and what she is trying to do for the dance community. It was the chance to study with her again that gave me the courage to get on a plane for the first time in my life. As I said, I don’t usually travel. Hadia is a brilliant technician of dance and the anatomical knowledge arising from her other work as a massage therapist, serves her well.

The four-day course was held at Denise Enan’s lovely Studio Oasis in Hull. It started with the presentation of a dauntingly thick folder of information and homework for each participant. I glanced over the contents of the folder scanning anatomical drawings, graphs and a psychological questionnaire thinking. “All this in four days?” Hadia announced that some of the contents of the folder were for reading on our own time. I breathed a sigh of relief. “Good, maybe my brain won’t explode on day three after all.”

Unlike some other teachers of Belly Dance Hadia has studied many dance forms, and is well versed in the dangers and benefits of all dance. She focused on anatomy, and injury prevention / recognition / management in her class. She also covered warm ups and cool downs, learning styles, finger cymbals, music interpretation and appreciation, dance styles, history, technique, variations, class planning and feedback.

Hadia teaches by what I like to call the Alphabet Soup Method. Stir it up, dip out a spoonful and “ta-da” next we will cover a, b, and w. Don’t get me wrong, that’s not a criticism, she teaches with an anecdotal style that flows rapidly from one topic to the next, but in a tangential fashion. It is like covering everything at once, but in a way that makes sense because it is all interconnected. Hadia’s head is so full of great information sometimes it all tries to escape her mouth at once. The result is a style of teaching that will never, ever bore you. But will certainly keep you on your toes.

I am not a good note taker but experience has taught me that I need to write some things down or I won’t remember. Having studied with Hadia in the past I chose to bring a hardbound sketchbook for notes so I would not be restricted by lined pages when recording her wisdom. I now have over thirty pages packed full of drawings, notes, titles of cd’s, famous dancers names, videos to see or to avoid, breakdowns of moves and messages to myself like, “Change the way you teach Saiidi Kick, the big H. says you do it like a guy”. That’s not counting the many observations I wrote in the margins of the pre-printed pages she provided. My point is that she had oodles of great information to share. And she freely did so, complete with permission to use that information because, in her own words, “Why would I teach you this stuff if I didn’t want you to use it.”

Her love of what she does is evident in the passionate way she talks about her art. She is trying in her own way to make the information she had to learn by trial and error available to everyone who wants it. I think it is about time. We have a wonderful resource in Hadia and should all be accessing it.

Over the four days Hadia covered a great deal of information; some that I was already aware of and some things that were new to me. She managed the class dynamic well, not allowing too many interruptions and distractions while allowing each student to contribute to the class.

She successfully shut down without hurting the one student in the class who was there just to argue with or challenge the teacher. There is one of those in every class. Why do they do that? If I am going to give someone my hard earned money in exchange for their information I am going to hook myself to their brain like a leech and get as much out of them as possible before they can reach the salt shaker.

In a total of twenty four hours, give or take an hour or two due to running over at the end of the day as Hadia is prone to do, we covered what could have easily taken twice that long. We did not get to cover everything in as much detail as we would have liked, but that was not due to Hadia’s time management issues, of which she is totally aware. It was mostly due to the fact that there is so much to know. The fact that she even tries to cover it all proves her desire to enrich this art form and those who study/teach it. This is a refreshing change from teachers who are loath to give away too much out of paranoia.

I personally loved the anatomy portions of the classes, but that just me. I once borrowed Grays Anatomy from my high school library to learn how to draw hands and found it so fascinating that by the time I returned it I could have bought my own copy for the price of the fines. Some of the vegetarians in the class were not so pleased with the medical video of real cadavers she used to show muscle and skeletal structures. My only problem with it was that I had to force myself to see them as human. I used to be a chef and I constantly perceived the isolated muscle tissues as meat. Ugh! I didn’t share my thoughts with the class; though now I wonder how the vegetarians would have handled it.

For anyone who is teaching or even considering teaching belly dance I highly recommend taking this course. There are far too many people out there teaching without proper training. Mostly that has been the case because the training was not available. Now that it is, we should all take advantage of the opportunity. Working with people’s bodies is not something to be taken lightly. So if you think you know enough to teach belly dance, get yourself to Hadia’s next teacher training workshop and find out just how much there is to know. I can’t wait for her Level Two Intensive.

If we all try to teach from an informed standpoint the art form will be stronger and better, and as a result be taken more seriously. Wouldn’t that be nice?

Article sur Formation de Profs Jan 2005

Des orientations pour une intervention adaptée de la danse.

Depuis un bon moment, un mot clé revient sans cesse dans l'univers de l'enseignement auquel j'appartiens, un mot qui dérange et bouleverse un vieux système essoufflé, un concept dont les paramètres bousculent les idées et provoquent des changements incontournables….LA RÉFORME…

Voilà la pensée qui m'habite depuis la formation de professeur vécue avec HADIA à Montréal durant 2 fins de semaine intensives. Un groupe de 18 femmes venues de partout ayant en commun ce goût du renouveau enfin possible, ce besoin de valider la pertinence et l'importance de la mission qui est la leur envers l'apprentissage de la danse orientale au Québec.

La formation que nous avons choisie avec cette personne exceptionnelle qu'est devenue Jocelyn Chouinard, est centrée sur le développement des compétences appelant un regard différent sur la relation entre les danseuses et leur corps. Comme thérapeute, elle nous place dans une perspective de la connaissance du système musculo-squelletique et nous démontre abondamment la complexité de ce mécanisme au cours d'une pratique à la fois visuelle, auditive et kinesthésique. Cette approche nous permet ainsi l'intégration de ces " SAVOIRS " et constitue par la suite une base solide pour notre enseignement. Ainsi, au fils du temps, chacune d'entre nous réalise que maintes fois durant les ateliers de danse chorégraphique auxquels nous avons participé et auxquels nous nous inscrirons encore encouragent les danseuses à se centrer sur leurs efforts plutôt que sur leurs capacités.

HADIA nous oriente en fonction de connaissances et de compétences qui ne s'opposent pas…. elles se complètent. A condition d'OSER, un mot qu'elle nous a souvent répété. Ses connaissances de l'histoire de la danse, de la musique et ses instruments, des rythmes, du langage du corps, des scénarios visant des buts différenciés, des objectifs précis et réalistes font parti du menu servi par HADIA avec son dynamisme de lionne humaniste, son rire communicatif, sa spontanéité exprimée dans un français accessible et coloré!!

Ces compétences transversales soutenant l'apprentissage nous permettent des ajustements et deviennent des ressources essentielles qui proposent d'agir adéquatement pour propulser la danse orientale dans une chorégraphie complexe. Mais le savoir-agir propre à une compétence suppose une appropriation et une utilisation de ces notions et de ces habiletés en cause. Tout cela sans blessure!! Quelle évolution!!

Pour ma part, j'enseigne maintenant une pratique de la danse orientale basée sur l'amélioration posturale, la prise de conscience progressive des savoirs utiles à l'exercice de la danse. J'adopte la conception évolutive du développement des habiletés par le plaisir de l'effort en toute sécurité.!

La formation m'a confirmé que l'apprentissage de la danse épouse un mouvement en spirale à l'intérieur duquel les compétences servent à l'acquisition de nouvelles connaissances de soi qui, à leur tour, font évoluer la danse orientale…Merci HADIA…

A suivre….Liette Prévost

Perfection in Paradise – Acapulco Dec 10-17, 2004
by Corinne Doroshenko

Picture this ... the beautiful sandy beaches of Acapulco, heavenly sunshine, crashing ocean waves, luxurious resort and belly dancing with world renowned Hadia EVERY DAY for a week. It was as amazing as it sounds.

We as eager students of Hadia, were fortunate that the group was small, allowing us more individual attention with her than we expected. The group taking part in the weeklong workshop consisted of 6 students. Three were from Calgary, one from Vancouver, and two from the United States. All of us hail from different backgrounds and have varying personalities, yet meshed so wonderfully as a group.

I was impressed immediately at how beautiful and luxurious the resort was (as I am somewhat of a princess when I travel). The room I had was private, with a king-sized bed, Jacuzzi tub, shower and private bathroom. It would have been perfect for bringing along a ‘special someone’ on the trip. It adjoined to a one bedroom suite which had its own soaker bathtub, bedroom, kitchen and living area. The adjoining rooms and suites can be combined to accommodate a group of friends traveling together.

The first couple of mornings we had a buffet breakfast at one of the several restaurants on the resort. The food was fantastic, fresh tropical fruits and juices, Mexican specialties, made to order omelettes, and pastries. Needless to say, after that breakfast a two hour dance class was essential to burn off all those calories. The rest of the week we had breakfast as a group in Hadia’s suite.

After a leisurely breakfast, we would have a two hour class each morning. Our ‘studio’ was an outdoor stage under a backdrop of palm trees, the lake and ocean beyond that. It also happened to be very close to a restaurant and the walking path, so there was often a curious audience watching our practices. A few brave tourists, thinking this was a complimentary class offered by the resort, joined in, which was quite fun. Some days we would venture down to the beach instead of the stage for finger cymbol classes. Seven bikini clad women playing cymbols under a cabana created quite a lot of interest from people on the beach. In fact it wasn’t long before most people on the resort knew who we were.

After our morning class, we had the afternoons free to enjoy how we pleased. Whether it was lounging by the pool, boogey boarding in the ocean, shopping from vendors on the beach (which I did a lot of) or taking Salsa and Spanish lessons, there was plenty to keep busy if that was what you desired. Our second session of classes for the day would begin late in the afternoon.

Every evening we all had dinner together at different restaurants on the resort. Our evenings usually ended fairly early, despite several attempts to go into town and dance the night away. With all the dancing we did during the day, we were all too tired.

We did go into town on two occasions. The first trip into town was on the Sunday, which also happened to be a national holiday, Dia de Nuestra Senora de Guadalupe, the day the Virgin Guadalupe is celebrated. On this trip we toured an 18th century fort, Fuerte de San Diego, which is a pentagon shaped fort built to protect the city against pirate attacks. We also found time to indulge in some shopping at a local market. Our next stop was to meander through old Acapulco’s main hub, the Zócalo or main square. This tree lined square surrounded by ancient buildings housing small stores and restaurants fronts the Nuestra Senora de la Soledad (Our Lady of Solitude) church which hosts the festival Virgin of Guadalupe celebrations. We all enjoyed our dinner at a sidewalk café eating authentic Mexican food, sipping margarita’s and soaking up the local culture. Our day ended with a trip to Walmart to stock up on snacks, fruit, juice and of course wine!

Our second trip into town was on the second last evening, to observe the La Quebrada cliff divers. The divers climb 136 foot cliffs to their diving perch. From there they time their dives into a narrow inlet of crashing waves. This trip into town was organized by Rosario, a dear friend of Hadia’s and a local resident. She had wonderful insight into life and love in Acapulco which I won’t soon forget. After the dives, she took us to one of her favorite restaurants with live music and enjoyed a fabulous dinner over looking the bay.

Now this was all wonderful, but lets not forget the real reason why we all came…. to be trained by Hadia.

It was energizing to be in Hadia’s classes again. Her teaching technique is so precise, she can articulate a movement in a manner that everyone can comprehend. I haven’t met another teacher who can break down a move into its intrinsic parts as concisely as Hadia can. All her years of training, dancing, teaching and her background in anatomy and massage therapy has culminated into a unique and inspiring teaching style. She has the uncanny ability to adapt to a group of students’ varying learning styles so that everyone benefits from her instruction.

Each of us also received a one hour private lesson with Hadia.

The class outline for the week of Professional Development Training was varied and all encompassing. Over the week we were exposed to some exciting and challenging new technique and combinations. We had lessons in finger cymbols, muscle finding and application, music listening and interpretation, and improvisation techniques. We also had a review of different styles of dance and learned some Folkloric technique. In addition to all this, we were taught the choreography to Talakeek and Faddah.

I can sum up the week in one word: INSPIRING!

I was inspired to continue dancing, to strive be a better dancer and work harder, and to stay true to the technique and theory that Hadia taught me when I was a beginner and what I learned on this trip. For me, this trip was the perfect balance of being challenged creatively and physically and having time for solitude and relaxation. I am sad that she is not longer in Calgary and I am no longer her regular student, but if it means I get to go to Acapulco once a year to study with her, well then, what more can a girl ask for?

Rocky Mountain Retreat: Teacher Training and Professional Development
Kim Mayberry

Ever the innovator, Hadia organized the “Rocky Mountain Retreat: Teacher Training and Professional Development” course held August 6-9 in an attempt to lay the foundation for the careful and proper instruction of Middle Eastern dance.

About twenty participants took part in the fifteen-hour course that covered an introduction to anatomy, technique and fundamental moves, learning styles of students, and how to organize a class.

The participants ranged from people who had not taught before, to those who had been teaching for over twenty years. The group got to know each other well. Anecdotes from each other’s experience mingled with Hadia’s brilliant instruction served to form a warm learning environment in the comfort of Hadia’s beautiful home.

Students received a colorful, fat folder filled with handouts covering topics to be covered in the span of the course such as; student learning styles, examples of warm-up movements and stretches, anatomy coloring sheets, and guiding principles for teaching.

Hadia used her knowledge of massage and manual therapy for an extensive introduction to anatomy, which served to better explain the technicalities of different movements and safe movement. She provided color handouts that labeled muscles and used a video to teach students about our muscles, ligaments, joints and bones.

We also learned warm-up and cool down moves and got to practice technique in her studio. Her expert eye can spot technical flaws and her excellent teaching skill enables her to offer advice to perfect a dancer’s movements. We learned by watching her teach us. With over twenty year’s experience, just being in Hadia’s presence while she teaches is invaluable.

Hadia taught about different learning styles of students and how to accommodate to each learner’s needs. Participants also shared stories of their own teaching experiences, which made the discussions very practical and applicable.

In an exceptional example of value for your money, meals were included in the cost of the course. She provided delicious and nutritious meals. One evening we headed down to the Pegasus Restaurant in Calgary for a Greek Night. Participants dined on delectable Greek fare and danced with each other.

More fun was had in Banff. A whirlwind tour of the National Park included a picnic at Morraine Lake, a hike up to the Lake Louise Tea House, and a viewing of spectacular Johnston’s Canyon. Classes were held at the Banff YWCA allowing participants the most magnificent setting for learning.

The finale of the course was the ultimate in pampered perfection. We eased our sore muscles and packed-to-the-brim minds with a day spent luxuriating at the Banff Springs Hotel Spa. As part of the course fee, each participant received a massage or Turkish scrub and spent hours delighting in pools of different temperatures, steam rooms, and saunas.

Hadia’s Teacher Training and Professional Development Course is well worth the money. It is a chance to get to know other dancers, share one’s experience, learn from a world-class instructor, and delight in the intricacies of a dance that has so much to offer. Treat yourself and participate in Hadia’s next course – you will be glad you did.

I think that Hadia should be commended for her foresight in offering this type of course. It is truly a one-of-a-kind experience and a necessary evolution of the dance form. Her commitment to informed, experienced and knowledgeable teachers is a positive step for the art form. Look for her Level I course this summer and be sure to sign up!

Alberta Festival
Karla Yanina

My most recent adventure took me to Alberta, a land not commonly known as the belly-dancing hub of Canada. For the past few years, Hadia has been changing that. This time she organized a festival complete with guest speakers on various topics followed by a teacher-training course. I would like to share with you readers my thoughts about the latter.

Middle Eastern Dance (MED) is an art form that has been around for thousands of years; however, in the past 30 years alone it has experienced tremendous popularity. In its entire history, this dance has never encountered so much change as now, and the need to have it accepted by the general public as a legitimate art form has been identified. According to Hadia to achieve this, the idea of accreditation for teachers has been circulating in places like the United States, Germany and Canada.

In the meantime, dancers/teachers can improve their physical skills and acquire a solid technique. In order to achieve this successfully, Hadia believes in the importance of having a “basic understanding of anatomy and its practical application to technique,” hence the main focus of the teacher-training program. By learning which muscles are involved in different dance moves, we can gain a thorough understanding of both the dance and our bodies. Hadia has identified the particular muscles that make us dance the way we do; she uses DVDs and Video in addition to handouts and exercises to show us where in the body these muscles are found and how to use them properly. This knowledge is an excellent tool for teachers to have in order to prevent injuries. I also find that, by visualizing a muscle, movements become easier; this becomes important when the subject of isolations comes up, and let’s not forget that MED is basically about body isolations.

While a large component of the course was on applied anatomy and body awareness, other subjects were also discussed. Among those, we were taught how to structure a class and what things to keep in mind. For instance, attention should be paid to learning environment, class plans, dancers’ different styles of learning and processing. Current dance styles were identified, i.e. goddess dancing, American tribal, fusion, American belly dancing, etc., besides the already established ones. Also, a lot of emphasis was placed on music interpretation and the use of the proper name of the dance. The material in this course is aimed at instructors who primarily teach dancers; the attention to detail encouraged could be overwhelming for some.

The most interesting aspect of this course is the practice and research ahead. I got to dig out my human anatomy and physiology text as well as other papers. This is not for lack of information given to us – there is lots of stuff in the printed material to keep me busy for a while – but who is David Kolb anyway?

Something else that I found interesting is Hadia’s teaching style. She presents information in a very casual way, almost as if just conversing with a friend. Because of the relaxed atmosphere, I felt that we could have covered a lot more material, but now that I am back home going over the information, I can honestly say that there is a lot of stuff already, and she warned us that there is a Part II coming up too!

After 15 hours of instruction over 2-1/2 days, there was sightseeing or hiking around Banff. And to top it all, inner beauty was also nourished at the Willow Stream Spa, probably the most luxurious spa in Alberta! There, we were given 2 choices for treatments, the Turkish scrub or the Swedish massage. I went for the second and what a wise decision that was – old cramps from my neck and shoulders were removed and I felt clean from the inside out. My masseuse made me feel like silk, maybe the best I ever felt. As it turned out, she is also one of Hadia’s students, who teaches post-graduate courses to body therapists. Yeah, that too.

After our treatment, we got to indulge in what the facilities have to offer. It’s all designed around the concept of hydrotherapy. Picture yourself sitting in an outdoor Jacuzzi surrounded by fresh mountain air and majestic mountains; or you could be gently floating in the pool of Hungarian minerals listening to soothing underwater music, or purifying yourself in the inhalation room, or simply enjoying a cup of wild berry tea sweetened with Swiss honey while wrapped in a plush terry robe. No, I did not get paid to tell you this. It’s just that one day in that spa gave me enough serenity to feel balanced and at peace with myself, so I had to share this with you. I am positive that the other 21 ladies who took part in this program feel a similar sentiment. Oh yes, in case you were wondering, 22 dancers participated, coming from the East Coast, BC, Ontario, Alberta and 3 of us from Winnipeg. There were also ladies from various cities in the United States, altogether a very interesting and harmonious group.

Looking in retrospect I can say that my time was well utilized. That was how I felt last year, so I came back to take this training course a second time. The only regrets, if any, are that we did not have much time to get to know the other people, all highly accomplished women, and that we didn’t stay longer in Banff. Then again, I went there to learn from a master who pretty much has life figured out; I wasn’t there to waste time shopping or the like.

Even though I am still digesting it all, this is an experience I strongly recommend. You have a whole year ahead, so start planning ladies - you will not be able to prove me wrong.

Inshallah.

Review Hadia’s Teacher Training Retreat 2003
Lorena Robertson

If you are serious about teaching dance classes, Hadia’s teacher’s retreat is not to be missed! Hadia generously shares her vast knowledge not only of dance, but also of anatomy, physiology and kinesiology. She in fact teaches instructors how to teach. The classes cover not only how to teach the actual dance movements, but also how to recognize and deal with the different learning styles of your students and how to efficiently run your classes.

I attended the retreat in 2003 which followed closely on the heels of the Festival of the Nile. This year we had a free day in Calgary between the festival and the retreat to explore, shop or just rest. The workshops were fabulous but exhausting, so we all appreciated a day off. What did I do? Went shopping of course!

The following morning we packed up and car pooled to Banff, stopping along the way to enjoy the amazing scenery at Lake Minnewanka and snap some photos. Then we checked in at the Y Mountain Lodge and met for a working lunch. Hadia handed out folders of the classroom material that we were going to cover, discussed the agenda and assigned homework.. Then it was off to the Banff Springs Spa experience! Now this was an afternoon of true luxury! We had our choice of either a massage or Turkish scrub and then got to lounge at the Banff Springs Spa for the rest of the afternoon, enjoying the mineral pool ( with underwater music ), the three waterfalls ( all different temperatures ), sauna and choice of either indoor or outdoor swimming pool. All with spectacular views of the mountains. Heavenly!

Then the work began. We started classes the next morning in the conference center at the Y Mountain Lodge. This was an ideal location for our needs. Its a separate building with its own kitchen facilities, a hardwood floor and huge windows. We started our mornings watching segments of an anatomy video over breakfast, while Hadia explained what we were seeing and how to relate it to various dance movements. Not for the faint of heart you might think, but the reality was that it was absolutely fascinating to see the mechanics of exactly how we move. Over the next several days we learned exactly how muscles work, how they’re connected to each other, how concentric and eccentric movement works and how to apply that knowledge to our dance. We learned how to safely warm up and cool down before and after class, how to recognize and correct improper alignment and muscle balance both in ourselves and in our students and how to break down simple and complex movements by the muscles required to accomplish them. We also worked with rhythms, learning to clarify them and to play zills while dancing. We studied class construction and how to formulate lesson plans. We also studied the different learning styles of students, how they perceive and process new material and how to deal with these differences. It was an amazing amount of material to cover and a lot of work. ( did I mention homework?)

It wasn’t all work though. We had classes every morning, one late afternoon class and one evening class, but we also had several excursions to admire the amazing scenery. I’m from the rolling green hills of the east coast and this was my first visit to The Rockies. They are truly awesome and Hadia wasn’t about to let us miss out on being tourists. She escorted us ( she calls it herding cats ) to a picnic lunch and hike at Lake Moraine and hot chocolate at the impressive Lake Louise Hotel. We toured Johnston Canyon and picnicked at Kananaskis. We stopped the cars and got out to marvel at huge elk grazing peacefully by the side of the road, completely oblivious to us or the cars whizzing by. We don’t have elk in New Brunswick.. We have moose. They are not peaceful and they especially don’t like cars.

I highly recommend Hadia’s teacher’s retreat. Its an intensive, informative and challenging few days filled with hard work and lots of laughter. You’ll leave inspired.

What people have to say about Hadia's Amazing Tours

"Highlights from Down Under - January to March 2007
by Hadia

Last April, during my second teaching tour of New Zealand, some of the teachers who had participated in the Dance Festival in Wellington collaborated to bring me back for a full tour of Australia and New Zealand for Jan to March 2007.

I was honoured be invited by such an accomplished and established group of teachers and artists and very enthusiastic about spending more time in Australia. I had been over for a short visit and one workshop about 15 years ago after my first Kiwi tour and had wanted to know more about this fascinating country ever since.

I started my tour with my week long dance retreat in Bali, which was a completely magical experience and enjoyed by all, including myself. We are aiming for a 2 to 3 week combination teacher training AND/OR professional dance training course there for next year in this wonderful, tranquil and inspiring place.

My first stop in Australia was Brisbane, a semi tropical, verdant and beautiful city in the state of Queensland. I was very pleased to be invited by Maria Masselos, who has been a major sponsor for a large number of oriental dance workshops for many years, featuring all the top Egyptian names. The Friday night, Saturday and Sunday classes were well attended and high energy in spite of the fact that it was a whacking 34oC with only fans to dissipate the heat. I taught a wide range of topics from salsa-oriental, Turkish ROM, to flamenco for belly dancers. Fortunately, the performance venue was blessed with air conditioning. Our visit to the Animal Sanctuary, which included Koala cuddling, and Lorikeet, Kangaroo and Wallaby feeding, was a real treat.

My next destination was Maryborough, a small and very charming city located several hours north of Brisbane and only 30 minutes from Fraser Island. This world heritage site is Australia's largest sand island and the home of tropical rain forest, crystal clear fresh water lakes and streams, moonscape sand dunes and the country's purest and oldest breed of wild dingoes.

I booked a 2 day tour with great, environmentally savvy guides to show us the many unique and natural wonders of this very special place. Although every part of the tour was amazing, I was particularly touched by the beauty, complexity and the diversity of the rainforest, and that fact that it could even grow, let alone thrive on a 125 miles long stretch of sand in the ocean. They were a startling contrast to the monotonous, uniformed pole pine forests on the other side of the islands main road. These rapid growth soft wood commercial trees now replace what was once all rainforest. However, unlike the rainforest that is thousands of years old, after a maximum of 70 years they will just rot and fall leaving what?

This island also has fresh water lakes, one of which, Lake Mackenzie is a crystal clear rain water lake of multihued turquoise and blue and has, itself, been declared a world heritage site. We also saw a pair of dingoes, while on our swim stop at Lake Wabby. These curious and gentle creatures, companions to the aboriginals for thousands of years, have now returned to their sustainable numbers in balance with their natural food sources after facing first overpopulation followed extermination by settlers.

My only disappointment as we traveled along the 75 miles of undisturbed white sand beaches, was that that we could not go into the turquoise, bathtub warm ocean, because of the large numbers of Portuguese Man o'War, (stinging jelly fish) large and hungry sharks and stingrays in the summer season. However, the gorgeous "human friendly" lakes and floating downstream in the cool clear waters of Eli Creek were welcome treats in the searing heat. I was a bit uncomfortable to know that the local Funnel Web spiders had evolved uniquely on Fraser Island to become on of Australia's deadliest, while the Redback was also very common. Fortunately we were taught to identify and watch out for them.

Back on the mainland, we had a fabulous time on 20 acres of Australian bush under the reign of my wonderful hostess, Helene Coulter. Geckos, praying mantis, possums, 2 big loveable dogs, chickens and a family of 13 green tree frogs (on the endangered species list) who lived in the open-air veranda bathroom (yes, there was another one inside the house minus the frogs). I LOVED IT! I was very impressed by the brave, brilliant and pioneering, "I am a woman and can do anything" ladies I got to know, if ever so briefly, and hope to see more of them in the future. The entire very large group of enthusiastic and fun-loving dancers managed to keep their energy high during the 2 days of non-stop classes and a show in 35 degree temperatures, again with no air conditioning.

Then it was up to Cairns, 38 degree days at 90% humidity and the Great Barrier Reef and more wonderous rainforests. The adventures began with Kuranda, a village noted for its arts and crafts, high up in the mountains an hour from Cairns. The ascent by The Skyrail was a silent and soul wrenching view of the rainforest canopy which brought tears to my eyes for the entire 45 minute journey. I could follow the flights and hear the cries of the cockatoos above. As I peered deep into the forest floor, teeming life crawled upon and battled life to reach the light of the canopy. There were stops at the 2 stations along the ascent with ranger guided tours along the boardwalks. The variety of flora was overwhelming. The town of Kuranda was a lovely spot for a day visit and had a great selection of really beautiful artwork in some very unique shops and galleries. The return ride was on a beautifully restored, turn of the century wooden car railway that creaked and chugged its way ever so slowly through the spectacular scenery of the canyon.

The next adventure included 2 more world heritage rainforests and a cruise along the Daintree River, up to Cape Tribulation. Our guide was not only a very funny and interesting ex-jazz musician, but a wealth of information about the area, its fauna, flora and history. So many breathtaking sights and amazing creatures, many of which are moderately to lethally dangerous. Spiders of every variety, many highly venomous, a wealth of snakes, each one more lethal than the previous one, even a tree whose pressurized sap will blind you and, of course, the crocodiles. These modern dinosaurs are apparently extremely intelligent, cunning and patient hunters and are known to stalk and observe people in the bush for weeks, as they study their daily habits and potentially vulnerable moments. Needless to say, I happily opted to confine my swimming to the resort pools.

Then it was out to the very outer edge of the Great Barrier Reef with 3 separate reef stops. As soon as my mask was in the water, I found myself in another world - a brilliant frenzy of color and life just under the surface of the calm, clear water. There really are no words to describe the numbers, colors, patterns and variety of fish and other creatures that inhabited the most curious and amazing coral formations imaginable. The closer one looked, the more one saw.

Stingrays buried in the sand sea floor, giant sea turtles, little "Nemo" clown fish playing in the brilliantly colored anemones, a giant Mary bass, more than half my size, brilliantly colored parrot fish of all shapes and sizes, eels and fortunately for me no sharks. I had been snorkeling many times, in many locations in many countries before. I even lived on a sailboat in the Bahamas for 3 months many years ago, where daily diving on the reefs, was an integral part of life and our primary source of food. However, I had never seen anything like this before and trying to grasp the gigantic dimensions of the reef was staggering.

I was stunned when I arrived to my next workshop destination, Adelaide and was informed by my hostess, the very talented Shamira, that if the ocean water temperature rises only another 2 or 3 degrees due to global warming, the entire Great Barrier Reef will die and be lost to us forever. I can hardly comprehend of such a loss, not only of the reef itself and the uncountable volume and diversity of life it comprises and hosts, but also of the other millions of sea creatures who are intricately interdependent upon the reef for their life.

Adelaide is a well planned, lovely and very livable city located in Southern Australian. The air-conditioned studio tempered the furnace-blast 40o heat and I really enjoyed working with this very enthusiastic and hard working group of dancers. I decided on a tour to Kangaroo Island for my next mid-week adventure. This wild, rugged, large and sparsely populated island which lies directly south of Adelaide was well worth the 5 am wake up and 6 am departure, bus ride and ferry ride to get there. Two action packed days, included a very special visit to sit on the beach amid Australia's only colony of Sea Lions. I was unprepared for the emotion that came from quietly sitting beside them, watching these lovely creatures, their pups, their affectionate interaction with one another. It was more profound to be there with them knowing that they are fighting their way back from extinction after brutal and mindless massacres from the days of seal hunting. The Remarkable Rocks, huge red monoliths of indescribable power, resting on top of cliffs overlooking the open sea to the Antarctic, and Admiral Arch, home to the New Zealand fur seals, another amazing colony sprinkled across the rocks, ledges and pools adjacent to the National Park. Koalas, the adorable chocolate wallabies and kangaroos in their natural habitat in the wild was wonderful and swimming in the much colder but amazingly gorgeous waters of the north island beaches was great, in spite of the fact that I had just learned about another brand new scary monster - the blue ringed octopus, who often hides in the rocks along the seashore and who's venom is many times more deadly than the most venomous snake and no anti-venom is available. And then to find out that the infamous Great White Shark actually prefers and frequents the colder waters of these coasts was yet again a humbling moment.

Then onto the southern most tip of Australia's domain, the island of Tasmania. My first late afternoon evening in Hobart, reminded me of Halifax, Nova Scotia on Canada's Atlantic coast- delightful, charming, quaintly old world European, harbour city full of sailboats and salty dogs. The population of Hobart is only 1,500, while the entire island of Tasmania totals only 4,500. This rugged and wild place was, in fact, the original Australian settlement (penal colonies) in 1700. My workshops and show were held in a fabulous heritage building and all very well attended, while the ladies were very enthusiastic. I admired my hostess, Adriana who, after moving from Adelaide 18 years ago has pioneered belly dance in this lovely and remote Australian outpost.

My workshop weekend coincided with the wooden boat Festival, and since I love boats, we had a chance to take in some of the activities. I even managed to include a day sail on the Duyfken, a perfect replica of the 1660 Dutch sailing ship. The Duyfken was actually the first recorded European ship to land in Australia, while en route back from the Far East and Indonesia, although Holland made no claim to the land. It was an absolutely brilliant and perfect replica in all aspects except for the head and small kitchen in the crews quarters. It was a more than perfect day of clear blue skies and light wind. Although we were allowed to assist the crew with the sailing duties, I preferred to watch the action as they co-ordinated the highly complicated and not terribly efficient tasks of hoisting sails and tacking. These old vessels were actually not able to sail into the wind! It was really hard to imagine that a crew of 20 to 30 men could actually live in such a small place with such limited resources for periods of up to a year and a half. After this once in a lifetime sail, we spent a couple of hours at the beach then headed up to the top of Mount Wellington.

At the top of the entire island, overlooking the magnificent bay on one side and the vast wilderness and mountains ranges on the other side, I finally got a feel for the real Tasmania - truly wild and magnificent. We couldn't have timed things better as we treated to one of the most magnificent sunsets in my life.

After the three days of weekend, we were off to spend the day on Bruny Island. We stood on the huge expanse of empty beach on National Park Reserve and home to a huge community of the adorable Fairy Penguins. Only a couple of hours from the most southern tip of Tasmania - the last stop before the Antarctic - no one and nothing but shells, turquoise ocean, pure white sand and pounding surf, I reflected on some of the unique and magnificent things that I have been so fortunate to see and be part of during the past weeks.

Then it was onto Melbourne with Barbara Wolfcamp who was happy to show me just a few of the many sights of this great multicultural and dynamic city in the state of Victoria. Although my itinerary did not leave me any time for major exploration, we did take advantage of the great beaches only minutes from the studio, and took in a special Fairy Penguin visit which allowed us to see these beautiful little creatures at arm's length, just beside the famous St. Kilda pier. Too cute for words! I will just have to return to see more of Melbourne and finally go down the Great Coastal road and see the Apostle Rocks.

Australia was marvelous in so many ways, so strange a world - full of unique creatures and species, some seemingly as old and mysterious as the world itself. In spite of the fact that many of these are highly venomous and deadly to mankind, they have been quite helpless to protect themselves from us nasty humans, now in danger of extinction due to our conduct and the resulting dramatic climate changes. This fact combined with an ever increasing state of severe drought has finally begun to filter into the consciousness of an ever increasing percentage of the population. I was surprised and hopeful to find that everywhere I went, the Australian topic of the times is the need to reverse the damage to and restore the intricate and delicate balance of nature if this marvelous world is to continue.

Why do we always have to lose what is more precious to us before we appreciate and value it? We could take care of it while we have it. And what about our beautiful dance?

Perfection in Paradise – Acapulco Dec 10-17, 2004
by Corinne Doroshenko

Picture this ... the beautiful sandy beaches of Acapulco, heavenly sunshine, crashing ocean waves, luxurious resort and belly dancing with world renowned Hadia EVERY DAY for a week. It was as amazing as it sounds.

We as eager students of Hadia, were fortunate that the group was small, allowing us more individual attention with her than we expected. The group taking part in the weeklong workshop consisted of 6 students. Three were from Calgary, one from Vancouver, and two from the United States. All of us hail from different backgrounds and have varying personalities, yet meshed so wonderfully as a group.

I was impressed immediately at how beautiful and luxurious the resort was (as I am somewhat of a princess when I travel). The room I had was private, with a king-sized bed, Jacuzzi tub, shower and private bathroom. It would have been perfect for bringing along a ‘special someone’ on the trip. It adjoined to a one bedroom suite which had its own soaker bathtub, bedroom, kitchen and living area. The adjoining rooms and suites can be combined to accommodate a group of friends traveling together.

The first couple of mornings we had a buffet breakfast at one of the several restaurants on the resort. The food was fantastic, fresh tropical fruits and juices, Mexican specialties, made to order omelettes, and pastries. Needless to say, after that breakfast a two hour dance class was essential to burn off all those calories. The rest of the week we had breakfast as a group in Hadia’s suite.

After a leisurely breakfast, we would have a two hour class each morning. Our ‘studio’ was an outdoor stage under a backdrop of palm trees, the lake and ocean beyond that. It also happened to be very close to a restaurant and the walking path, so there was often a curious audience watching our practices. A few brave tourists, thinking this was a complimentary class offered by the resort, joined in, which was quite fun. Some days we would venture down to the beach instead of the stage for finger cymbol classes. Seven bikini clad women playing cymbols under a cabana created quite a lot of interest from people on the beach. In fact it wasn’t long before most people on the resort knew who we were.

After our morning class, we had the afternoons free to enjoy how we pleased. Whether it was lounging by the pool, boogey boarding in the ocean, shopping from vendors on the beach (which I did a lot of) or taking Salsa and Spanish lessons, there was plenty to keep busy if that was what you desired. Our second session of classes for the day would begin late in the afternoon.

Every evening we all had dinner together at different restaurants on the resort. Our evenings usually ended fairly early, despite several attempts to go into town and dance the night away. With all the dancing we did during the day, we were all too tired.

We did go into town on two occasions. The first trip into town was on the Sunday, which also happened to be a national holiday, Dia de Nuestra Senora de Guadalupe, the day the Virgin Guadalupe is celebrated. On this trip we toured an 18th century fort, Fuerte de San Diego, which is a pentagon shaped fort built to protect the city against pirate attacks. We also found time to indulge in some shopping at a local market. Our next stop was to meander through old Acapulco’s main hub, the Zócalo or main square. This tree lined square surrounded by ancient buildings housing small stores and restaurants fronts the Nuestra Senora de la Soledad (Our Lady of Solitude) church which hosts the festival Virgin of Guadalupe celebrations. We all enjoyed our dinner at a sidewalk café eating authentic Mexican food, sipping margarita’s and soaking up the local culture. Our day ended with a trip to Walmart to stock up on snacks, fruit, juice and of course wine!

Our second trip into town was on the second last evening, to observe the La Quebrada cliff divers. The divers climb 136 foot cliffs to their diving perch. From there they time their dives into a narrow inlet of crashing waves. This trip into town was organized by Rosario, a dear friend of Hadia’s and a local resident. She had wonderful insight into life and love in Acapulco which I won’t soon forget. After the dives, she took us to one of her favorite restaurants with live music and enjoyed a fabulous dinner over looking the bay.

Now this was all wonderful, but lets not forget the real reason why we all came…. to be trained by Hadia.

It was energizing to be in Hadia’s classes again. Her teaching technique is so precise, she can articulate a movement in a manner that everyone can comprehend. I haven’t met another teacher who can break down a move into its intrinsic parts as concisely as Hadia can. All her years of training, dancing, teaching and her background in anatomy and massage therapy has culminated into a unique and inspiring teaching style. She has the uncanny ability to adapt to a group of students’ varying learning styles so that everyone benefits from her instruction.

Each of us also received a one hour private lesson with Hadia.

The class outline for the week of Professional Development Training was varied and all encompassing. Over the week we were exposed to some exciting and challenging new technique and combinations. We had lessons in finger cymbols, muscle finding and application, music listening and interpretation, and improvisation techniques. We also had a review of different styles of dance and learned some Folkloric technique. In addition to all this, we were taught the choreography to Talakeek and Faddah.

I can sum up the week in one word: INSPIRING!

I was inspired to continue dancing, to strive be a better dancer and work harder, and to stay true to the technique and theory that Hadia taught me when I was a beginner and what I learned on this trip. For me, this trip was the perfect balance of being challenged creatively and physically and having time for solitude and relaxation. I am sad that she is not longer in Calgary and I am no longer her regular student, but if it means I get to go to Acapulco once a year to study with her, well then, what more can a girl ask for?

LA TURQUIE - HIER ET AUJOURD'HUI
par Hadia, Montréal

Mon histoire d'amour avec la Turquie remonte à janvier 1978. À l'époque, je vivais à Vancouver, Canada et dansais dans un restaurant turc nommé le Istanbul. Le gérant du restaurant - un homme charmant et un grand ami - m'enseignait la langue turque. Il m'a parlé de son pays avec tellement de passion que j'ai décidé d'ajouter la Turquie à mon projet de voyage dans les pays du Moyen-Orient et de la Méditerranée. Des arrangements furent pris avec ses amis demeurant à Istanbul et à Ankara.

J'avais pris le vol de nuit pour Istanbul et, regardant par le hublot, je me demandais comment il pouvait faire si noir dans une ville comptant plus de huit millions d'habitants. Au petit matin, j'ai entendu le son du Muezzin (appel à la prière), puis je fus assourdie par les bruits de la ville qui s'éveillait. L'air était envahi par les odeurs âcres et piquantes émanant des aliments cuits dans les fours à la lignite. Je ne savais vraiment pas à quoi m'attendre et décidai de m'aventurer dans la ville. Quelle fut ma surprise de retrouver de la neige à Istanbul, puis de voir des ânes tirant des charettes au beau milieu des voitures, en plein trafic du centre-ville! J'étais fascinée par Istanbul, par l'élégante architecture ottomane, l'Aya Sofia (église Sainte-Sophie), la Mosquée Bleue sans oublier le palais de Topkapi, ruissellant d'or et tout incrusté de diamants et d'émeraudes de la taille de mon poignet.

Du Bazar aux Épices en passant par la pont Galata, la rue fourmillait de vendeurs offrant mille et unes choses en plein soleil, le tout baignant dans les odeurs du simit frais et de ce délicieux petit poisson en train de frire. Le labyrinthe des venelles boueuses menant à la Tour Galata contrastait avec l'immensité du Kapali Carsi (bazar couvert de renommée mondiale).

Je passais mes soirées dans un des nombreux excellents restaurants du Bosphore, à déguster des fruits de mers et à écouter les musiciens gitans jouer de la musique traditionnelle. Mais quelque chose m'a rendue un peu perplexe, autant à la boîte de nuit Karavan Sary que dans les hôtels 5 étoiles. Pendant le dîner, un orchestre comptant plus de dix instruments tout ce qu'il y a de plus classique, pouvait soudain ranger le tout puis commencer à jouer de la guitare électrique, du saxophone et de la batterie pour accompagner les pires performances de "danse du ventre" que j'aie jamais vues.

Quand les amis qui m'accompagnaient m'ont présentée fièrement aux "danseuses", j'ai feint de ne pas comprendre le turc, afin de m'éviter de faire tout commentaire désobligeant. Elles étaient plus préoccupées par les photos prises par les touristes et par la chasse aux pourboires qu'à donner une bonne performance.

Après deux semaines passées dans cette ville magique, je fus invitée par une famille à vivre avec eux à Ankara. J'y suis demeurée plus de deux mois. Pendant ce temps, ma maîtrise du turc s'améliora graduellement, même si tout le monde - sauf ma "mama" turque Nasmia Hanim - parlait un excellent anglais. Dès le début, Nasmia m'a clairement laissé entendre que nous communiquerions ensemble via la nourriture. Ses dîners sept services, courronnés de desserts succulents, me renversaient littéralement. Voici un résumé de nos conversations: Nasmia s'affairait dans la cuisine et moi je mangeais les mets qu'elle préparait. Je me souviens que mon passe-temps favori était d'aller chez les voisins prendre le thé cay accompagné de délicieuses friandises.

Pour contrer la grisaille de l'hiver à Ankara, je me rendais fréquemment au bain turc traditionnel ou Hammam. Je me demande encore pourquoi l'usage de ces merveilleux bains publics ne s'est pas répandu à TRAVERS LE MONDE.

Je suis vraiment tombée en amour avec la musique turque et son folklore. J'ai étudié le saz, un instrument à cordes pourvu d'un long cou également connu sous le nom de baglama. Je fus également invitée aux pratiques hebdomadaires de la compagnie de danse folklorique Turk Halkevleri par Tayyar, mon nouvel ami.

De tous les spectacles que j'ai vus, le plus mémorable est certes la compétition nationale de danse folklorique. Venues des quatre coins de la Turquie, les troupes de danse composées d'élèves de l'école secondaire, nous en ont mis plein les yeux et les oreilles. Pendant quatre jours d'affilée, dix heures par jour, ils ont rempli un stade immense en présentant des numéros de danse exceptionnels. J'ai été renversée par la richesse et l'incroyable diversité de leur folklore sans oublier l'excellente qualité de leurs performances. La super star turque, le chanteur Ibrahim Taltisez a fait danser le stade en entier! (Il est présentement l'ami de coeur d'Aseena - la célèbre danseuse orientale d'origine turque - ainsi que le producteur du merveilleux disque compact "Aseena" que toute danseuse orientale devrait posséder).

Par la suite, j'ai poursuivi mon voyage en direction du sud et de la côte méditerranéenne, maintenant connue comme la Riviera Turque. Mon endroit préféré est sûrement Alanya. Située à la base d'une péninsule montagneuse, Alanya est une petite ville tranquille où l'on retrouve en grande quantité des charrettes, des ânes… et des hommes de petite taille portant des pantalons noirs bouffants. Cette dernière est couronnée par le magnifique château Seljuk datant du temps des croisades. Notre "tour" guidé nous a mené aux travers des ruines et des petites maisons datant du Moyen-Âge nichées au pied des murs du château. J'étais fascinée de voir que des gens vivaient encore à cet endroit d'une façon qui n'avait pas changé d'un iota depuis des siècles. À l'intérieur de ces minuscules maisonettes, des femmes étaient assises à même le sol et s'activaient sur leur métier à tisser. Quelques-unes fabriquaient des tapis, mais la plupart utilisaient de délicats fils de soie aux couleurs vibrantes et les transformaient en de superbe foulards.

M'aventurant dans une grotte située sous le château, j'ai pensé que je m'étais trompée de chemin quand je suis tombée sur une multitude de Turcs - habillés des pieds à la tête - s'ébrouant dans les riches eaux minérales issues des entrailles de la terre. J'ignore comment je suis arrivée là, mais comme c'était longtemps avant que je devienne thérapeute, je me demandais vraiment ce que tout cela signifiait. Mais je suis sûre que ce sont les Turcs qui trouvaient que c'était moi qui détonnait dans ce décor et non eux!

Nous nous sommes ensuite dirigés vers l'est, vers la ville de Silikife, empruntant la route escarpée longeant l'extrême bord de la montagne. J'en avais le souffle coupé. Personne à l'horizon, la solitude complète pendant des milles puis, venus de nulle part et accompagnés de leurs chèvres, un groupe d'enfants souriants et saluant de la main! Puis, un peu plus loin, rien ni personne. Un peu hallucinant!

Située à l'ouest d'Alanya, Antalya est une ville plus grande et plus active. Je dois vous avouer que mes souvenirs de cette ville sont un peu confus, embrumés par le Raki ingurgité en quantité un peu excessive en compagnie de nouveaux amis issus du monde de la musique gitane. Je me revois encore en train de crier Serefe dans un restaurant situé dans une grotte près de la mer. Cependant, Antalya est l'endroit parfait pour explorer les ruines de la Turquie. Des ruines, en veux-tu en voilà! À perte d'horizon! Au milieu des fleurs sauvages et accompagnés du tintement des cloches que les chèvres portent autour du cou, nos explorations nous ont menés à Perge, Aspendos, Side et Termossos, superbes et magnifiques dans le calme des journées printanières… juste avant l'invasion des touristes.

J'ai été renversée par la visite de la grotte Kairin, une immense caverne de la période paléolithique qui est demeurée inhabitée depuis plus de 25,000 ans.

Nous dirigeant un peu plus à l'ouest, vers la mer Égée et le triangle hellénique des ruines d'Éphèse, Aphrodisias et Hieropolis, nous sommes arrivés aux Sources Chaudes de Pamukkale "Cotton Castle" (littéralement: Château de coton). Même si l'accès de ces piscines de travertin (calcaire blanc) est aujourd'hui contrôlé, je dois dire qu'au printemps de 1981 j'ai pu arpenter la montagne aux couleurs de neige et me glisser doucement dans l'eau chaude de couleur turquoise. Cappadoce fut le joyau couronnant ce voyage inoubliable. À perte de vue, un paysage lunaire, rempli de grottes, de villes souterraines et de minuscules cheminées s'élevant dans le ciel. C'était comme si je me retrouvais plongée dans les temps préhistoriques. Le silence profond… et précieux.

J'ai tellement de souvenirs merveilleux de ce premier périple en Turquie, ma toute première incursion en orient. Cependant, le souvenir le plus cher à mon coeur est sûrement l'âme de ces gens vivant dans cette contrée ancienne. Leur hospitalité, leur honnêteté, leur sincérité, leur très grande générosité même s'ils ne possèdent à peu près rien, leur facilité à rebondir, leur exéburance, leur joie de vivre… même si la vie est souvent difficile dans ce pays. La musique, la danse et les chansons semblent faire partie de leurs cellules-souches. Les bébés, les arrières-grands-mères et tous les gens situés entre ces deux pôles de la vie, ne ratent jamais une occasion de célébrer, et même s'il n'y a aucune raison de fêter! Le peuple turc est vraiment ce qui fait que leur pays est un endroit que je préfère dans le monde.

Ils prennent vraiment soin de gens et font en sorte que nous soyons heureux et ayons le goût de retourner dans leur pays. Il n'est donc pas étonnant que je remette les pieds en Turquie à chaque année depuis 1978. Je suis vraiment heureuse de faire goûter à la Turquie à mes nombreux amis et élèves lors du voyage "La Turquie, porte de l'Orient" que j'organise annuellement.

La Turquie d'aujourd'hui est très différente de celle que j'ai connue lors de mon premier voyage. Ce pays est très moderne, européen, tolérant et laïque, avec quand même cette petite touche ancienne, orientale et exotique qui nous donne le goût d'y retourner encore et encore.

GATEWAY TO THE ORIENT - THEN AND NOW

My love affair with Turkey began in January, 1978. I had been dancing in the Istanbul Turkish restaurant in Vancouver, Canada and was taking Turkish language classes with the manager, who was a lovely person and good friend. As he continued to tell me all about his homeland I became more and more intrigued and decided to include Turkey in my upcoming tour of the Middle East and Mediterranean. Arrangements were made with his friends in Instanbul and Ankara and I was on my way.

As the plane prepared for a night landing in Istanbul, I wondered how such a huge city with a population of millions could be so dark. I awoke to the sound of the Muezzin (call to prayer), undecipherbel street noises and the pungent smell of ligmite stoves. I had no idea what to expect outside. As I ventured out into my first day, snow was my first surprise - donkey's pulling carts in the middle of the bustling city traffic, yet another. Istanbul fascinated me with its elaborate and elegant Ottoman architecture, the grandeur of Aya Sophia and the Blue Mosque, Topkapi palace oozing with gold, dripping with diamonds and emeralds the size of my fist.

From the Spice Bazaar and across Galata bridge, the street bustled with vendors selling everything under the sun, surrounded by the smells of fresh Simit and tasty little fish frying.

The confusing maze of tiny mud-filled streets on the way up to the Galata Tower competed with the endless depths of the Kapali Carsi or world-famous covered bazaar.

Evenings were filled with sumptuous seafood feasts and traditional gypsy musicians in several of the many of the excellent restaurants on the Bosphorus. In the Karavan Saray nightclub and several 5 star hotels, I was perplexed when the brilliant 10 piece classical orchestras would fill the air with their musical magic during diner and then pack up and make way for an electric guitar, saxophone and trap drum bands who played for some of the worst "belly dancing" performances imaginable. As my friends proudly introduced me to the dancers, my only recourse was to feign an inability to speak Turkish, thus saving myself the embarrassment of any comment on their shows, which were much more focused on picture taking and tip hunting than dancing.

After two weeks in this magical city, I was invited to stay with the family in Ankara, where I remained for over 2 months. During this time, my Turkish gradually improved, although everyone, except my Turkish "mama" Nasmia Hanim, spoke very good English. Nasmia made it clear from the beginning that we would communicate via food. Her 7 course dinners and desert delicacies were consistently amazing and our "conversations" consisted of her doing the cooking and feeding and me doing the eating. Afternoon tea cay and treats in the neighour's homes were a favorite pastime.

Regular trips to the traditional Turkish Bath or Hamman , were a welcome respite to winter in Ankara and made me wonder why these practical and brilliant public baths are not EVERYWHERE in the world. I also became enamoured with Turkish music and folklore, studying the saz, a hauntingly beautiful Turkish long-necked stringed instrument also known as baglama. I was also invited to join in the weekly rehearsals of Turk Halkevleri National folkdance company by my newly made friend Tayyar.

One of the most memorable of all events was a huge national folkdancing competition. As high school folk dance groups from all points of Turkey spent 10 hours a day for 4 days filling a huge stadium with non-stop sensational dance and music, I was overwhelmed by the richness and incredible variety of their folklore, as well as the excellent quality of their performances. A special guest performance by Turkish super star singer Ibrahim Taltisez had the entire stadium rocking! (He is presently the romantic interest of Aseena, Turkey's biggest belly dance star as well as the producer of her wonderful CD "Aseena" a must for every dancer's collection.)

Then onto the south and the Mediterranean coast, now known as the Turkish Riviera. My favorite place was Alanya, a sleepy mid-sized Mediterranean town full of carts, donkeys, little men in baggy bottom black pants and located at the base of a mountainous peninsula crowned by a magnificent Seljuk castle from the days of the crusades. Our self-quided "tour" took us wandering through the ruins and the neighborhood of little medieval houses nestled within the castle walls. I was completely fascinated to see that people still lived here and apparently maintained a lifestyle that had remained little changed for centuries. Inside their tiny houses, women sat on the floor at their looms, some weaving carpets, but most weaving the delicate bright colored silk threads that transformed themselves into the beautiful scarves of the area. I also remember thinking that I had really taken the wrong turn as I and a throng of fully-clothed Turkish people basked in mineral rich waters in a cave somewhere within the bowels of the mountain beneath the castle. I can't even remember how I ended up there, but as this was long before my days as a therapist, I couldn't quite figure out what this was all about although I imagine that the Turks were actually the ones thinking that I was the oddity.

Heading east from Alanya to Silifke took us on one of the most breath-taking and beautiful, but isolated and terrifyingly steep roads which appeared to be pasted onto the sheer mountain side. No one and nothing for mile after mile, then boom, right out of nowhere, a bunch of smiling waving children and their goats! Then no one and nothing.

Heading west of Alanya we came to the larger and busier city, Antalya. I admit that my memories of this city are not crystal clear due to the rather excessive quantities of Raki shared with new found friends to wild gypsy music and shouts of Serefe in a rustic cave restaurant on the sea. However, Antalya is the perfect place to explore many of Turkey's ruins, ruins and more ruins. Our explorations included Perge, Aspendos, Side and Termossos, eternally magnificent and pristine in the silence of the warm spring days before tourism, with only wild flowers and the sounds of goat bells. I was also awestruck by Kairin Cave, a huge paeolithic cavern that claims to have been continuously inhabited for the past 25,000 years. Heading further west toward the Aegean and the Hellenic triangle of ruins of Efesus, Aphrodisias and Hieropolis brought us to Turkey's famous Natural Hot Springs of Pamukkale "Cotton Castle" Although access to these white calcified travertine pools is strictly controlled today, in 1981 I was able to freely run across the snow coloured mountain face and soak in the warm spring sun and warmer turquoise mineral water.

Capadoccia was the crowning jewel of this unforgettable journey, A snow capped magical moonscape of cave dwellings, underground cities and fairy chimneys that seemed to pull me into some prehistoric past. Silence……..profound and precious.

I have many wonderful and cherished memories of this first visit to Turkey, my first introduction to the edge of orient. However, what is perhaps the most important and most indelibly etched in my heart and soul is the people of this ancient land. I was continually touched by their genuine hospitality and honesty, their sincerity, their generosity even when they had almost nothing, their resilience, exuberance and love of life, which is often a very difficult one indeed. Music dance and song seem to be part of their cellular makeup. Little babies, great grandmothers and everyone between the two, never miss the chance to join in the celebration that needed no specific occasion to exist. The Turkish people really are what make this country one of my very favourite places in the planet. They truly to want to make sure that, as their guests, we are happy and well taken care of and that we will return. So, it is not surprising that I did return I have continued to do so every year. I also find great joy in being able to introduce many new friends and students to this wonderful country on my annual tour "Turkey, Gateway to the Orient". Today's Turkey is very different from the one that I met in 1978. It is at once very modern, European, tolerant and secular, yet somehow still manages to entice us with a taste of the ancient, the Orient and exotic.

TURKEY - MAGICAL, POWERFUL, OTHERWORLDLY
By Aldiya

BO DRUM
Our first stop was at Bodrum, a Mediterranean style resort town nestled on the bluer than blue Aegean Sea. We arrived at sunset, with the slanted rays of the evening sun bathing the hillside of white-washed buildings in a pinky glow. The narrow, winding streets, densely packed buildings, and brilliant bougainvillea let you know that you are not in Kansas anymore, kid. It was a perfect place to unwind after 15 hours in the air and over 10 hours in airports. Bodrum highlights include:

Zip Zip
We were blessed with the opportunity to drive into the mountains to the village of Zip Zip, a small co-op of carpet makers. While the atmosphere in the cities is definitely masculine, village life is characterized by a calm, peaceful feminine energy, so powerful it almost made me cry. We watched women of all ages making the most amazing carpets by hand. Some of us tried a little carpet weaving ourselves. As my weaving skills leave a lot to be desired, I have decided not to quit my day job and move to a small, mountain village. We visited people in their homes, humble, one-room earthen dwellings white washed with lime, and terraces heavy with fresh grapes. We were treated to a simple yet scrumptious meal, with all of the meats, vegetables, and herbs grown and prepared lovingly with their own hands. After diner we were treated to Raki, Turkey's national drink (a licorice flavoured liquor), and an exquisite belly dance performance by Usha, a lively, mischievous 4 year old who appeared to be the unofficial princess of the village. She shimmied, undulated, and rolled her belly as well as dancer I have seen. Not only was she skilled, she had amazing presence. This little one knew how to entertain. She pulled us up one by one and invited us to join her. She was like a little sponge, absorbing new moves from her new found friends.

Hamam
If you go to Turkey, you must visit the hamam (Turkish Bath). Picture this: A marble room topped with an ancient dome, marble benches along the wall with taps for hot and cold water, exquisite punched copper bowls for rinsing, and a heated marble slab in the centre. Imagine laying on that heated marble slab, singing the chakras with some dear friends, as your voices blend in perfect harmony and reverberate through the amazing natural acoustics. Our guide brought a doumbek and began to play some striking rhythms, as we got up and danced on that slab while others splashed us refreshing bowls of cool water. Then the massage - as you are lying on that wonderful, warm marble, the masseur scrubs you from head to toe, making you feel alive. Then comes the soap massage, where you are completely enveloped in suds while all your stiffness and soreness are melted away. And finally, the hydrotherapy baths, with alternating hot and cold water make you feel like a new person. If you go, be sure to check the times as many hamams are segregated and have different times scheduled for men and women. If possible, try to chose an historic hamam that retains its original dome. The older hamams have a much nicer ambiance.

Road to Pamukkale and Cappadocia
The drive through the countryside is not to be missed. The landscape changes every 10 minutes, from lush green forested areas to ancient, rolling hillsides, to rocky, uninhabitable terrain, to endless fields of cotton and sunflowers. Here is where you experience the "real" Turkey - the familiar sound of horses hooves and carts carrying people to their fields at daybreak, livestock wandering freely. It's like stepping into the pages of a National Geographic. Anatolia, the name of the Asian portion of Turkey, means "the end of the world". When travelers first came to this place, they thought that they were, indeed, at the end of the world. As we were rounding a corner near Mount Argos, a volcano in the central region, we witnessed a vast sea of land, with a seemingly endless horizon softly obscured by a gentle haze. I have never seen so much land in my life (coming from a prairie girl, that carries a lot of clout). If I were to imagine what the edge of the world would look like, this would indeed be it.

CAPPADOCIA AND PAMUKKALE
These two places are, quite possibly, the most otherworldly places on earth.

Completely natural, yet so seemingly alien, Pamukkale's white travertine cliffs, full of mineral pools and swimsuit clad tourists, look like a scene from a surrealist painting, as though we were sunbathing on an iceberg in the frozen north. The healing waters of the thermal bath, bubbling over tumbled ruins, effervesce like a glass of warm champagne, making you feel completely alive, and thankful to be alive.

Cappadocia is equally surreal. When travelers first came to this region, dominated by miles of unearthly rock formations and endless caves, they thought that the rock formations could not have been created by nature. They called them the "Fairy Chimneys", believing they were created by fairies living in underground homes. For thousands of years, people have carved their existence out of these rocks. The early Christians who created vast underground cities in the region to escape persecution. Today, people still carve hotels, restaurants, clubs and even homes out of the caves in the hillsides.

Urgup
While in the city of Urgup, we had the good fortune to attend an open air concert by one of the country's most renown Saz players, a man who was incarcerated for politically subversive lyrics and rants at his shows. The hillside was framed by a number of small caves. We managed to claim one for ourselves. We spent a magical evening dancing in a cave by candlelight and eating freshly roasted sunflower seeds.

ISTANBUL
We arrived at Istanbul by night, with the full moon shining on the Bosphorus. We awoke to a stunning skyline of domes and minarets. This city, which spans two continents and three bodies of water, is truly amazing. The sights, smells, and sounds are overwhelming. There is simply not enough to be said about this city.

Galatia Tower
Although the Tower itself is not particularly striking, the view from the top is amazing and definitely worth the trip. We were fortunate enough to ascend to the top at sunset. A huge, brilliant red orb slowly descended behind the countless domes and minarets as the call to prayer rang out through the city from hundreds of mosques. My companions and I were deeply moved by this powerful experience.

Topkapi Palace
If you were to look up the word "opulence" in a visual dictionary, you would see an image of Topkapi Palace. It is opulence defined. It is even more luxuriant and decadent than the Palace of Versailles. As you make your way through the huge complex, you encounter increasingly ornate buildings lavishly decorated from top to bottom. Every inch is adorned in exquisite detail - walls covered in beautiful hand-painted tiles, wooden doors inlaid with mother of pearl, fountains and alcoves decorated with delicate mosaics, rich carpets and tapestries, elaborately painted ceilings and the most amazing, beautiful gilded domes I have ever seen. Visiting the harem was a personal thrill for me. Aside from the tour guide that tried to rush us though in 20 minutes (what WAS that man thinking???), it is definitely worth the extra $15.00 entry fee. You would be hard pressed to find a more stunning piece of architecture. And where else can you walk down "the golden road", the hall where the favored women of the harem made their way to the sultan's boudoir. I found myself wandering around, mouth hanging open. I think my vocabulary was reduced to "wow" and "oh my God" for the duration of the visit.

This account is hardly exhaustive. There are so many things to see and do in this amazing country. Although I only spent three short weeks, I felt as though I had spent a lifetime. The energy of the ancient hills still runs in my blood. At my departure, I felt that I was leaving a part of me behind and I was reminded of the words of Kahlil Gibran in "The Prophet":

It is not a garment that I cast of this day But a skin that I tear away with my own hands And fain would I take with me all that is here But how can I? A voice cannot carry with it the tongue that gave it wings And alone and without it's nest must the eagle fly across the sun.
Huge thanks to Hadia for making this amazing tour possible.

Reviews of Hadia's Wonderful Instructional DVDs adn Video for Technique and Choerography

This was like opening up a whole new world for me.
by Taaj

Hadia sells teaching DVDs and Video. If you have had only a few classes and aren't catching on very quickly, Volume 1 would be challenging to you and probably not the best place to start. BUT, if you like your beginning classes and want to expand on what you learn in class (or are at an intermediate level), these are excellent. Unlike a lot of DVDs and Video that show you movements in isolation, Volume 1 shows these with arms and how to travel too. This was like opening up a whole new world for me. I was truly inspired!

Volume 2 and 3 do the cane choreography and rhythms. These build on what was taught in Volume 1, so if you don't have the basics or Volume 1, this is not a good place to start. If you have some familiarity with the movements though, this can get you going again in new directions. Because the instruction is so clear, your can "hear" the music and Hadia's interpretation with your eyes. It gives you a greater understanding of the music. When I got these DVDs and Video, I hadn't much exposure to Arabic music, so this was all new to me. Wow! What an enhancement to my education.

Volume 4 is the choreography to Mashaal. It is 90 minutes long. Volume 5 is the Modern Egyptian one and is 60 minutes long. Finally, Volume 6 is the Tunisian one and is also 60 minutes long. I also have this one. I had never had ANY instruction in Tunisian before this and was surprised at how well she covered it. She performs, explains the costuming, rhythms and movements. It is very clear and easy to follow and understand.

I don't mean to sound like an ad for Hadia, I just want to pass along what I consider to be a gold mine! If you like the way Mesmera teaches (clear, crisp, more than the basics, each movement building on the previous, no "junky stuff"), then you will like Hadia. There is a review of a workshop she did in Habibi Volume 16, No. 1 and also an article on her here in the Zaghareet magazine. I put my money where my mouth is by buying her DVDs and Video (I hope to have them all one day) and also by sponsoring her.

has a wealth of information
by Pamela, TX

I received your video last week.... thank you for sending it along. I really enjoyed your video, it has a wealth of information - it will probably take me several months or more to get all the details. I've been dancing with a drum circle occasionally here in Dallas, TX and I really needed some ideas of what to do with some of the more difficult rhythms - like chifti telli. Your video met my expectations. Thank you!

What about Hadia?
by Taaj, VA

What about Hadia? She has 6 excellent DVDs and Video out, of which I have four. Does that tell ya I like this woman's teaching style? They are very clear and easy to follow. They progress from easy to more difficult and cover what they say they are going to cover. She has one that is basic, one that covers rhythms, one for cane, one for Tunisian, one for Modern Egyptian and the last one is a choreography to Mashaal. I can't remember what I paid, but I know it was lower than most and worth more.

What people have to say about Hadia's Performances

"An Occidental Tourist Takes the Orient Express Dancer Hadia Transforms the Classics
by Kerry Sloan

What happens when the Middle East meets Mozart? Can Mussorgsky be Modest in a skimpy bra and belt?

I was about to find out on the "Orient Express", a collaborative performance of oriental dancer Hadia, the Aiwa Arabic Dance Ensemble - and the Calgary Philharmonic Orchestra.

On November 27, 2003, a packed house of novelty-seeking Calgarians filled the Jack Singer Concert Hall, one of the city's most prestigious venues, to see their own Hadia's acclaimed choreographic talents applied to Western classical music.

As I sat, ticket in hand, waiting for the "train" to depart, I admitted to feeling fairly skeptical. Was about to witness the birth of an artistic monster - a pop pastiche of "East meets West"? Was I going to be subjected to the worst in trite orientalism?

The CPO's promotional material had done nothing to allay my fears, using the words "sensual", "exotic", "allure" - even "magic carpet ride". However, I did feel some consolation in the knowledge that, if anyone could pull this show off with class, it would be Hadia, an internationally respected dancer and winner in 2000 of the coveted "Best Choreographer" award from the International Association of Middle Eastern Dance.

I glanced down at my program and scanned the offered repertoire - all oriental-inspired works composed between 1775 and 1920. Obviously, the European fascination with the Middle Orient was not a recent phenomenon. Hadia's choreographic commission from the CPO was simply following tradition. I also noted from the program that we wouldn't be seeing the dancers until the second half. We were going to be put into an oriental mood - but gradually.

The orchestra began with two Turkish-influenced pieces by Mozart. First, the Overture from the opera The Abduction from the Seraglio, then the Violin Concerto No. 5 in A Major, with its famous "Turkish" Rondo, performed by the young and capableCanadian soloist Karen Gomyo.

Mozart wrote these two pieces during a period in which Vienna was occupied by the Ottomans - a number of times. The Viennese, despite their fears, seemed enamoured of all things Turkish: there were Turkish dress styles, Turkish hair-dos, Turkish stories, and what the Viennese thought of as Turkish music. "Turkish" military music was especially popular, perhaps suggesting the use of the triangle and the bass drum in the Overture, and the striding, angular phrases of the Rondo. Despite all this, I felt convinced I was still in Vienna.

Imagining myself on a pleasant Strasse, sipping coffee and indulging in Sachertorte, I was suddenly jarred eastward to a surreal street scene, to the garish strains of "In a Persian Market" by Albert Ketelbey.

The English silent movie score composer wrote a number of popular sentimental pieces, including this one, with its visions of carnivalesque camel-herders, snake charmers and slaves. The audience was cajoled into a sing-along, all the better to contribute to the bustle of the marketplace.

After the intermission, we were quite firmly back on European soil with a rousing rendition of Liszt's Hungarian Rhapsody No. 2 in C Minor, with its popular "exotic" allusions, this time to the music of the region's Gypsies.

Evidently, we the audience were now primed for some real honest-to-goodness sensualism.

Still, not to rush or rouse us too much, the first dance was a cross-over number, Tchaikovsky's "Arabian Dance" from his ballet The Nutcracker.

I surmised a synthesis of styles would be suited to Hadia, who has trained and performed throughout Turkey and the Middle East, and has also studied ballet, jazz and contemporary dance with the likes of Les Ballets Jazz du Montreal, Phil Black, Luigi and Alvin Ailey.

Evidently, the "Arabian Dance" has been performed before by Middle Eastern dancers, notably by Zari in 1998 at the Boston Conservatory.

Hadia's rendition was graceful and balletic - and not overly oriental. She floated onstage in a white cabaret outfit and veil, and was slowly joined by members of her troupe flourishing their jewel-toned veils in tandem with surges in dynamics and tempo. Subtly interspersed with ballet and jazz moves were occasional hip drops, soft shimmies and gentle undulations. I felt I was in a pleasant dream, and for a moment forgot my interest in the East-West dichotomy.

I quickly snapped myself out of my reverie in contemplation of the poor Prince Ivan Khovansky, the subject of Modest Mussorgsky's opera Khovanshchina ("The Khovansky Plot"). The ambitious prince, feeling comfortable and secure in his luxurious palace, orders his slave girls to dance for him. Such are the raptures of the "Dance of the Persian Slaves" that he becomes oblivious to a messenger warning of a plot against his life. He dies, of course.

Despite my disdain at such obsession with the powers of the exotic, I confess I was again transported by Hadia and her dancers - and by the choreography. Hadia is certainly adept at transforming the aural into the visual by accentuating melody, harmony and rhythm, and by capturing musical moods and styles. For the Mussorgsky piece, Hadia used melodic phrases, motifs and rhythmic accents to create "characters" for her slave dancers.

The melody was sinuously portrayed by Hadia. Two tall blonde dancers carrying veils aloft like banners flanked the troupe, providing foils for Hadia, as well as a frame for the other dancers and orchestra. A triad of dancers, in "doo-wap" fashion, minced in unison to ornamental motifs. Meanwhile, more characters flitted across the stage - a pink ballerina accompanying an airy melodic theme, and a blithe, folksy tambourine player highlighting percussive accents.

By this point I was wondering whether Prince Ivan might not have had his priorities straight after all. Oh dear.

Feeling a bit sheepish, I was relieved to be able to return to my original cynicism with Carl Neilsen's Aladdin Suite, which was originally intended as incidental music for a Danish stage setting of Aladdin and was first perfomed in 1919. It was variously menacing, frenzied, nostalgic and swashbuckling. In other words, more vaguely exotic popular entertainment.

The music for the evening's finale was the "Bacchanale" from Saint-Saens' opera Samson and Delilah, which seemed fitting, as the composer was born in Paris and died in Algiers. The "Bacchanale" takes place inside the Temple of Dagon, where pagan worshippers revel in preparation for a sacrifice. The oriental theme is one of unrestrained sensuality and hedonism. And, typically, because no one can have too much fun, the revellers are eventually punished, with the prurient onlookers feeling chastened and somehow absolved.

Saint-Saens employs pseudo-eastern scales, prominent augmented second intervals, and a great deal of crashing percussion, supposedly evocative of sensual abandon and barbarism.

This was by far the most heady and intense of the dances, and definitely the most bellydance-like of the three. It was also a showcase for Hadia's choreographic talents in highlighting musical device, evoking mood and creating story.

The "Bacchanale" began with quick-moving, energetic "worshippers", arrayed in red and black peasant-style costumes, creating a mood of excitement and anticipation. Enter "goddess" Hadia, undulating and spinning langourously, her sensual yet muted costume setting her apart from the brightly-clad minions. At other moments, ranks of dancers performed a ritual of repetitive head slides while a sinuous oboe theme piped on.

At one point, a number of the dancers moved coyly through the audience, as if tosolicit more followers.

In the last moments of bacchanalic bliss, the troupe formed a chorus line, and then, as Hadia returned from the aisles, her devotees enclosed her in a circle of ecstatic worship. Suddenly, she took the form of an avenger, perhaps of an angry Dagon or of Samson, and she scattered her dancers, charging at them and waving her arms to great crashes of sound. The scene ended with all dancers falling to the floor as the"temple" crumbled down around them.

The audience, obviously mesmerized, exploded into applause. Luckily, no divine punishment was visited on the hall, which left it available for the second performance of "Orient Express" on November 29.

As the dancers returned for their third curtain call, I realized that what I had witnessed was neither East nor West, or some bastardized combination of the two, but the workings of choreographic imagination. The music itself may have portrayed a romanticized version of the Near East, but ironically it was the dance which redeemed it by embodying it as universal art.

As Conductor Susan Haig told audience members in an informal talk after the performance, she was initially apprehensive about working with "bellydancers", but her worries quickly vanished when she realized, "The choreography brought the music to life".

Members of the Aiwa Arabic Dance Ensemble performing with Hadia and the Calgary Philharmonic Orchestra were Alexandra Braginsky, Jumanah, Nim Khan, Christine Maurette, Holly McWilliams, Jess Rozon and Anna Samuelson.

Woman of Vision – Calgary Herald Article – November 5, 2002:
PRAIRIE DANCER LIVES TO PERFORM
by Linda Olsen

Growing up in Saskatchewan, Jocelyn Chouinard dreamed of becoming a dancer.

“I remember dressing in leotards and little tops…and prancing around the house doing Swan Lake until I wore a huge groove in my mother’s record,” says the 50-year-old Calgary resident with a child’s remorseful smile.

Today, Chouinard is an internationally acclaimed dancer, but her specialty is quite a cultural leap from Swan Lake.

For more than 30 years, Chouinard has performed and taught the ancient art of belly dancing, or as she prefers to call it, Middle Eastern dance.

She was first inspired by the mystical moves of the dance while attending the University of British Columbia in Vancouver. Since then, she has traveled around the world, including stops in Morocco, Turkey and Tunisia, to perfect her technique.

In 2000, Chouinard was honoured with an international award as Choreographer of the Year.

Chouinard, who performs under the name Hadia, says there is more to the dance than what most of us are familiar with.

“It’s so much more than just one dancer in a little outfit running around between tables.”

After two years of planning, Chouinard organized the Festival of the Nile, held last August long weekend in Calgary. She brought together several top Middle Eastern dancers for workshops and sold-out performances.

It was the first festival of its kind in Canada and Chouinard says the response from participants was overwhelming.

“What they took away from it was a much deeper understanding of Middle Eastern music, the history, the dance, the culture, the costuming. It was a very well-rounded perspective.”

In her rich, deep, singer’s voice, Chouinard explains how Middle Eastern dance has given her a new personal perspective.

With its fluid movements and flowing costumes of chiffon and jewels, she says the dance has allowed her to embrace her femininity. Chouinard believes that’s difficult for many women today, because of what she calls confusion between male and female roles.

“I think the down side of (emancipation) is we tend to look a little more derogatorily at some of the softer aspects of being women.”

In 1992, she went back to school to become a registered massage therapist. When she’s not touring or teaching dance, she works with patients and teaches post-graduate classes in massage therapy.

Finding success in two careers has proven that Chouinard has followed her own advice.

“If you really love what you are doing and you work really hard and you believe in it from deep inside, there’s nothing that can stop you.”

"..she was first inspired by the infamous Jordanian dancer "Badawia"...
by L'echo Des Sagattes, Journal Du Cours, Paris, France

... very quickly the need to learn all that was possible led her to other great oriental dancers such as Nadia Gamal, Jamila Salimpour, Ahmed Jarjour, Ibrahim Farrah, Lala Hakim and the National Folkloric Company of Egypt. In addition she spent course time with Yousri Sherif which has made Hadia a known and recognized artist. Her references include performances in Egypt, Turkey, Syria, Tunisia as well as the North African countries."

"Upon returning to North America, Hadia has had but one goal: to train dancers and communicate to them all she knows. Her motivation for technical instruction has placed her among the most accomplished masters."

"Her honesty and integrity in the performing and teaching of the oriental dance has given Hadia the ongoing enthusiasm from which she began, seeing the world through the eyes of youth, but acquiring the wisdom of an ancient woman."

Calgary Workshop Review
Heidi Branchaud

"Hadia teaches with clear, precise instructions. The information is well organized and challenging. She is able to motivate dancers of all levels with no disruption to the overall flow of the day. In addition, she monitors each dancer's progress and offers individual appraisals, as needed. Hadia's choreographies emphasize the flow of the music, simplicity, variation on the basic steps and small touches to highlight it all."

"In this two day workshop, we learned a beledi dance full of humor and joy. An elegant oriental choreography in the modern Egyptian style followed. Later, Hadia taught a cane dance suitable for solo or troupe performance. (please mention her name if you use it!) The workshop ended with an introduction to Tunisian dance steps."

The Show Review
by Jamilla Abir

"As the intro music played, the red beledi-clad guest star snaked through the audience in a surprise entrance to the stage. Her high energy, playfulness and musicality shone through a cane dance of her own choreography. The music switched to "Ageb Ageb" from George Assouf and she treated us to Rakia Hassan's masterful choreography."

"Hadia wove intricate patterns with her body and expressions to Oum Kolthoum's classical piece "Ana Fintizara". The feeling and grace she portrayed was almost tangible and the petite dancer was a vision in her white, gold and silver lace beaded costume. Hadia returned in a ravishing teal oriental costume with a distinct look of Bella of Turkey. The band played on for her fabulous oriental show, and the audience went wild for her!!"

Medanz Newsletter, Christchurch, New Zealand

"...her emphasis was on correct posture and avoidance of injury as well as correct technique. ... was very approachable and willing to share her knowledge and experience in response to questions... a number of interesting discussions arose naturally out of the dance sessions... a workshop with her is an opportunity not to be missed.

Hadia gave us two inspiring performances, one being her exquisite cane routine. The audience response was electric and all commented on Hadia's ability to connect with her audience."

Sahda, Newsletter of the Middle Eastern Dance Assoc., Vancouver, B.C., Canada

"The Lila and Mayodi show put on by Hadia was a real treat. ...one of the most exciting shows I'd seen in a long time. ...Hadia performed to Masha'al with her troupe and her choreography was, as always, sublime. Hadia as a particular gift of musicality - setting movement to the music - that goes far beyond anything I've seen by the likes of Nagwa Fouad or Soher Zaki."

Evelyn from Paris, France

"When Mayod (of Paris) introduced Hadia to us as "the best", he was not exaggerating. Although I am not one for idolizing, I acknowledge Hadia as a true master of this art form. What I appreciate the most about Hadia's teaching is her generosity. She clearly and completely explains the "how to's" of this dance. I learned and discovered more in the five days with her than the entire seventeen years of my studies of oriental dance. Now I know that I have a lot of work still ahead of me but also that my students will benefit from this new knowledge and perspective."

Arabesque Dance Studios, Toronto, Ontario, Canada

"The Hadia workshop has come and gone! Registration for the two-day event was healthy, with participants coming from all over southern Ontario. Hadia taught cane on Saturday, a drum solo choreography on Sunday and oriental both days. Students appreciated Hadia's teaching style, her personality and magnetism all of which won her many fans/friends. And sandwiched between the two busy days of workshops was the exciting Middle Eastern Dance Cabaret! The show was a huge success, packed with encouraging audience members and dazzling dance performances. And it's interesting to witness how many shows were creative fusions: Aziza belly dancing to Backstreet Boys, Yasmina and Sashar with Azerbaijan/Bellydance fusion, Layali Shehrazad with American Tribal Dance, Ilana's innovative veil and drum piece and so much more! Then there was Hadia's shows. She did an adorable cane routine n the first half and ended the show with a dramatic oriental show and a rockin' drum solo!

Virginia Beach Workshop
by Shari W.

I wanted to e-mail you to let you know how much I enjoyed the workshop you gave in Virginia Beach this past weekend, both Saturday and Sunday. Even though I've been dancing for such a short time (7 months), I feel like I learned so much from your classes and I'll be able to apply that knowledge to anything I do in the future. I'm sorry so many people were scared away from the hurricane, but I guess the smaller classes were to my benefit and maybe Taaj will be able to bring you back again for another session when the weather cooperates! Anyway, thanks again!

"Oh, you are going to LOVE Hadia!
by Taaj, VA

I sponsored her last year and can't wait to get her back. She is one of the most under-rated and under appreciated (because she doesn't put out all that hype and self-promotion garbage) dancers in the U.S. ever. She is a professional Flamenco, ballet, modern, Polynesian AND Middle Eastern dancer. This lifetime of training reflects in her warm- ups, her carriage, her instruction, her dancing, her everything! I never new what the phrase "dancer's dancer" meant until I saw it embodied in Hadia. It's all in the eye of the beholder, but my two cents worth is that Hadia is one of the best."

Oasis Dance Camp South, November 5th – Sunday, November 9th, 2003:
by Lucia

.... despite their celebrity status, Cassandra and Hadia are modest about their accomplishments and immense talent. They are truly exceptional role models in arts/dance culture.

....Hadia taught a technique class designed to improve our flexibility and to increase ‘passion’ in dance moves. The two instructors’ regime complemented each other well. Hadia also began to teach us flamenco dance. This was my first introduction to Flamenco – and I discovered it is very challenging! She taught flamenco/oriental fusion choreography to Spanish song. The diverse moves were fun and unique.

....Hadia’s first dance was the flamenco gypsy-oriental fusion choreography that she taught us. Her performance was outstanding.

Hadia’s flamenco gypsy moves were beautifully passionate, precise and fiery. She transferred this passion to the rowdy audience. Hadia’s second performance was sassy and oriental. She glided effortlessly and displayed grace, showmanship and skill.

I could have spent the entire evening watching both dancers. They were so unique and lovely with diverse styles and personality. It is easily understood why they are in such great demand – as performers and instructors. The audience was in awe with Cassandra and Hadia’s performance.

....I think this was a wonderful and well-organized workshop with great instructors. The quality of dance instruction was superb. The opportunity to meet other dancers and make friends from dancers across the nation was terrific. I highly recommend all dancers to attend a Oasis Dance Camp if possible. The workshop was $445 excluding airfare. This included hotel accommodations, classes and meals. I wished the workshop lasted longer.

For further information about the workshops, please contact www.oasisdancecamp.com or www.jawaahir.org.

Reviews of Hadia's "Festival of the Nile"

"What a Celebration!
by Kim Mayberry

The Hadia's Festival of the Nile- Canada, August 2-5, was Western Canada’s first festival of Middle Eastern music, dance, and culture. And what a celebration it was!

Participants came from Dallas, Chicago, Washington, New Brunswick, Toronto, Winnipeg, Saskatchewan and from all over Alberta to partake in this four day flurry of fashion shows, gala performances, music and drumming workshops, and dance classes taught by some of the world’s finest teachers.

The Festival was hosted by Hadia. Her expert organization and vivacious personality ensured that Festival participants would be exposed to as much as possible in four days. The variety of classes, workshops and entertainment offered something for everybody, professional and beginner alike.

The fun started Friday afternoon with a two hour fashion show put on Jamilee Abir and Ariella. Students wore exquisite costumes from the Son of the Pharoah shop in Eau Claire Market, Calgary. Some costumes were imported directly from Egypt, some locally made, and others were from the wearer’s personal collection. Costumes in all colors of the rainbow floated down the runway. They ranged from glitzy and sparkly to relatively simple construction. Middle Eastern music beckoned the models to dance as the MC’s explained a bit about each design. Onlookers were in awe of this splendid start to the Festival.

Classes began that night; for the dancers it was time to get moving. The group of approximately 80 participants was split in two. This made it comfortable to dance in the studios at the YWCA – Fitness on Fifth.

To kick off the classes, Hadia taught an irresistibly cute cheoreography she had just learned in Egypt set to the music Bint Il Balad – Fatme Serhan. She took us through the movements while demonstrating her flair with dramatic effect, playing up the character of the dance – a flirtatious village beauty.

Sabura wowed participants with a showing of her expert veil work. She demonstrated veil entrances, spins, tosses, and poses with grace and fluidity. The handout she provided will be helpful to refresh participant’s memories when we attempt these movements on our own.

Friday night Ariella and Jamilee hosted another fashion show. This time the theme was a historical look at different costumes worn throughout the ages, from the Rom to the Ghawazee to modern cabaret. The talk was intensely interesting and shed a lot of light on historical aspects of the dance, such as cultural custom and dance styles, that many people may not have known.

Before classes began each morning, participants could browse the bazaar set up in the corner of one studio. It consisted of lovely costumes from Son of the Pharoah and Jamilee, a variety of music, and art. It was a nice way for participants to wake up each morning as they perused the beautiful wares for sale.

Jalilah taught a class on Ghawazee dance style. Having spent time with the Ghawazee, Jalilah imparted first-hand knowledge of the overall feel of the Ghawazee movements, their historical background, and their culture. She shared pictures of Ghawazee dancers, some of which were very old. It was an excellent lesson about these dancers who now exist in a very small number, but whose influence on Middle Eastern Dance is immense.

Jalilah also taught classes focusing on rhythms, classical and oriental styles. With a soft-spoken style that is quietly intent, she moves meticulously and encourages her students to move this way as well. Her knowledge and experience of Middle Eastern culture and dance was selflessly shared with the participants.

The Festival was not only about dancing, but also learning more about Middle Eastern culture. To that end, we were taught about the music we dance to. Michael Frishkopf, Assitant Professor of Music at the University of Alberta, taught participants about Arab history, rhythms, instruments and Sufi culture. He played out the rhythms and invited the group to play along. We received handouts and watched a video that enhanced our learning experience. The class focused on the song Lissa Fakir which Jalilah used for a dance class.

Jalilah’s petite frame moves so gracefully, making it a perfect match for the music of the classic song – Lissa Faakir. Soft as a flower, she taught a cheoreography that honored the music perfectly. Learning about the meaning of the words and the music of the song added much to our dancing.

The Festival also included a choice to participate in a drumming workshop or a lecture about Middle Eastern spirituality. Author and student of ancient wisdom, Howard Mickoski, gave a fascinating lecture. The drumming workshop was also a hit, allowing students to practice with professionals.

The sound of the drum beat loud in Hadia’s Technique and Drum Solo class. Her vast knowledge of other dance styles including Flamenco, Jazz, and African shone through while she focused on technique. She has an amazing ability to pinpoint and correct a student’s technique. Her guidance quickly improves movements made by both beginners and advanced students.

To wrap up the dance classes, Hadia taught a class focusing on essential rhythms. She offered ideas of different movements to compliment different rhythms. The class was a bit more free-form than others, allowing participants to test out knowledge they had picked up from the weekend’s classes. It was an energetic, fun time that Hadia wisely used to let us move and celebrate all we had learned.

A video of each instructor demonstrating each workshop was made available to student’s at a reasonable price. Also, participants could buy Videos of the two Festival performances. These Videos are an excellent learning tool and souvenir of this remarkable Festival.

Judging from the smiles and excited chat that circulated in between classes and at the glorious “Ahlan Wa Sahlan” and “Night on the Nile” shows Saturday and Sunday night, other participants of the Hadia's Festival of the Nile- Canada had as much fun as I did. It was four days of immersion into a culture and form of dance that we all love. Thank you so much to the instructors, lecturers, musicians, volunteers and especially Hadia.

Review of Hadia’s Festival of the Nile 2003
by Lorena Robertson

I have been a fan of Hadia’s since I first discovered her instructional Videos about four years ago. In the spring of 2002 I was thrilled to be able to attend one of her workshops when she travelled to the east coast and right there and then I put her Festival of the Nile and teacher’s retreat in Banff at the top of my wish list. The planets aligned during the summer of 2002 when I discovered that a good friend from the Yukon was planning to attend both the festival and retreat. It had to be a sign! Perfect timing! This was definitly the summer to go!

The Festival was to start with a fashion show on Friday at lunchtime. We made our way downtown to the Eau Claire Market where for over 2 hours we were treated to the latest in belly dance fashions supplied by Son of the Pharoah. What an amazing array of costumes! There were simple costumes suitable for students, costumes that would work well for troupes and some breathtakingly beautiful creations suitable for professional performances. The models were Hadia’s students and they and Hadia performed throughout the afternoon as well. Fabulous!

That evening we gathered at the Olympia Dancesport Studio to meet the instructors and attend an evening of lectures. The energy in the room was amazing and we weren’t to be disappointed. Hadia has very high standards and she had assembled an incredibly talented group of people for this year’s festival. Dr. Michael Frishkopf, Sahra Saeeda and Helene Eriksen joined Hadia as our instructors. The evening began with a lecture by Dr. Michael Frishkopf and Hadia on Arabic music history, instruments, Maquams and interpretation. Dr. Michael Frishkopf is Assistant Professor of Music and Associate Director of the Centre of Ethnomusicology at the University of Alberta and Director of the West African Music Ensemble. He had taught the previous year and been brought back by popular demand. It was easy to see why. He spoke on the origins and history of music in the Middle East and explained many of the instruments. The lecture was entertaining as well as educational. Michael also demonstrated how to play some of the instruments and Hadia taught finger cymbals with the drummers. Sahra Saeeda lectured on Egyptian Folklore, music, costuming and history. She handed out maps of Egypt and explained the different regions and spoke of how all had their own particular styles of dance. Sahra also has an impressive list of credentials, including degrees in Dance and Cultural Anthropology and an MA in Dance Ethnology. She has lived and researched in Egypt as well as performing her own show in Cairo for several years. She has traveled extensively, dancing and lecturing and is currently artistic director of Ya Amar! Middle Eastern Company.

Saturday morning we returned to the Olympia Dancesport Studio. The festival was actually two separate workshops, with a beginner level workshop taking place simultaneously in the downstairs studio while the intermediate/advanced workshop was taking place in the upstairs studio. A logistical nightmare? You wouldn’t know it! Everything was so well organized, from the registration table divided alphabetically ( a great idea to reduce the lines ) to lunch being provided on site all three days. There were also several vendors set up for shopping.

The actual workshops were organized into 90 minute or two hour sessions with Hadia, Sahra and Helene alternating as teachers. Over the three days of instruction, Sahra taught several sessions focusing on Egyptian folklore and Oriental. Highlights were a delightful Milaya Lef and a rocking drum solo! Helene Eriksen’s sessions were on traditional folk dances. Helene has studied Dance Ethnology at UCLA and was later a doctoral candidate in Folklore, Slavistics and Turcology at the George-August University in Gottingen, Germany. Besides directing her own ensemble, El Raqs-e Hilal in Germany, she currently leads dance and culture study tours to Morocco and teaches workshops throughout the U.S., Canada and Europe. Helene’s focus is on teaching the authentic movements of the various folk dances rather than choreographies. Highlights of Helene’s instruction were an exploration of Kaleegy dance and the dance of the Ouled Nail.

Hadia has been recognized and honoured for her talent and contributions to the dance by IAMED as winner of the best Choreographer Award for 2000, the Globel Woman of Vision Award – Arts and Entertainment 2002 and has won a Giza Academy Award for best instructional video of 1999. She is a teacher of boundless energy with an enthusiasm that excites and inspires her students.

Hadia is also a licensed Massage Therapist and possesses a thorough knowledge of anatomy and kinesiology which she uses to help her students understand movement and improve technique. Hadia’s beautiful and moving choreography to Huwa Sahiya was one of the highlights of the festival. She also gave a wonderful class presenting her perspectives of the most important elements to consider while putting together a choreography. There were also several more lectures throughout the festival, giving us a chance to catch our breath. Dr. Michael Frishkopf and Hadia taught intermediate and advanced rhythms while we sat on the floor and played our finger cymbals and Sahra gave a lecture on how to work with musicians. Another highlight was when Hadia led us through her new warm up with a promise to make it available on video in the near future.

The Festival wasn’t all work though! There was also entertainment! There was a hafla on Saturday evening at the Olympia Dancesport Studio featuring performances by local and visiting artists and a live band! It was very informal and everyone was encouraged to get up and dance. A great party!

Sunday evening we attended “A Night on the Nile II” at the University of Calgary Theatre. The theatre was the perfect setting for the event and professional sound and lighting added to the enjoyment of the performances.

Hadia, Sahra and Helene performed along with many guest artists that included soloists, duets and troupes. The dancing was amazing and the costumes were stunning! Hadia, Sahra and Helene each performed several times and included some of the material they had been teaching us. It was a fabulous evening!

Monday evening we were all invited to join Hadia, Sahra and Helene for dinner at the Pegasus Restaurant in Calgary. It was so nice to have the chance to thank all the instructors and to share some laughs with them before saying goodbye. It was truly a wonderful end to an amazing few days.

Hadia and her assistant Dianne are to be congratulated on the way they organized Festival of the Nile. This is a huge event, lasting several days, taking place at several locations with a lot of people attending. I was impressed with how well the schedule was planned and at how smoothly we were moved from one session to the next. That means that there was a lot of hard work being put in behind the scenes! It was appreciated!

Thank-you!

What people have to say about Hadia's Workshops

"Un mot sur Hadia et son stage du 27 février 05
by Aesra, Quebec, Canada

Hadia, dont l'authenticité orientale frappe dès que son corps ondule au rythme de la musique. Ses mouvements ressemblent tellement à la grande danseuse "Dina" et sont pour moi encore plus intense. Intensité est le mot qui la décrit. Intense dans son ground et dans ses mouvements aérien. Elle possède des mouvements spéciaux, à la fois classique très égyptien, innovateur "à la Dina" et son style à elle...avec une petite fusion espagnole dans les bras. Elle a un sens du rythme exceptionnel, une recherche musicale rare, un goût sûr. c'est une artiste accomplie à tous les niveaux. Elle a une surprenante façon très pédagogue de nous ammener à la finalité d'un mouvement, étape par étape, et parfois même à notre insu. L'atelier était très enrichissant avec le grand bagage qu'elle possède: mouvements, musique, explication des rythmes, discution historique, référence aux grandes danseuses du passé et son vécu avec l es grands de ce milieux. La danse du shamadan était particulièrement gracieuse et raffinée. De cette douceur nous sommes passé au drum solo très original et entraînant à l'extrême. Quel privilège de la rencontrer et de pouvoir bénéficier de son expertise et de son grand bagage. Elle pourrait s'adresser qu'à des avancés et non, elle a l'humilité et la patience de nous enseigner, de se mettre à notre niveaux, de beaucoup beaucoup partager, d'égal à égal. Elle est proche des gens une fois qu'un contact s'est créé, elle garde un lien de reconnaissance avec chaque personne, bref: elle est accessible et ne se prend pas au sérieux...Tout en étant à mon avis l'une des plus grandes danseuses orientale au monde. C'est une fo-folle joviale qui nous transmet la joie de vivre. C'est un rendez-vous avec une atmosphère de plaisir à travers la rigueur de la technique. J'ai personnellement sorti du cour avec une intégration de son énerg ie qui m'a rapprochée de l'énergie d'une danseuse égyptienne comme jamais, elle m'a transformée. Si en six heures elle peut faire ça, qu'est-ce que ce serait en consacrant beaucoup de temps avec elle, j'en rêve déjà! Elle répond à toutes mes exigences intérieure.

MERCI Hadia de ce grand privilège.

Calgary Workshop Review
Heidi Branchaud

"Hadia teaches with clear, precise instructions. The information is well organized and challenging. She is able to motivate dancers of all levels with no disruption to the overall flow of the day. In addition, she monitors each dancer's progress and offers individual appraisals, as needed. Hadia's choreographies emphasize the flow of the music, simplicity, variation on the basic steps and small touches to highlight it all."

"In this two day workshop, we learned a beledi dance full of humor and joy. An elegant oriental choreography in the modern Egyptian style followed. Later, Hadia taught a cane dance suitable for solo or troupe performance. (please mention her name if you use it!) The workshop ended with an introduction to Tunisian dance steps."

"..she was first inspired by the infamous Jordanian dancer "Badawia"...
by L'echo Des Sagattes, Journal Du Cours, Paris, France

... very quickly the need to learn all that was possible led her to other great oriental dancers such as Nadia Gamal, Jamila Salimpour, Ahmed Jarjour, Ibrahim Farrah, Lala Hakim and the National Folkloric Company of Egypt. In addition she spent course time with Yousri Sherif which has made Hadia a known and recognized artist. Her references include performances in Egypt, Turkey, Syria, Tunisia as well as the North African countries."

"Upon returning to North America, Hadia has had but one goal: to train dancers and communicate to them all she knows. Her motivation for technical instruction has placed her among the most accomplished masters."

"Her honesty and integrity in the performing and teaching of the oriental dance has given Hadia the ongoing enthusiasm from which she began, seeing the world through the eyes of youth, but acquiring the wisdom of an ancient woman."

Sahda, Newsletter of the Middle Eastern Dance Assoc., Vancouver, B.C. Canada

"Hadia's sophisticated teaching method enabled everyone to accomplish what was relevant to their ability. Hadia was able to break down steps very well to help the beginners of the class and able to embellish those same combinations to challenge those more experienced. ...there is a strong emphasis on upper body alignment.

Jareeda, Sutherlin, Oregon, USA

"...impressed by her obvious love of teaching and the clarity of her teaching... communication was very good, particularly her ability to analyze people's difficulties with steps, and to get to the nub of verbal questions about techniques..."

Medanz Newsletter, Christchurch, New Zealand

"...her emphasis was on correct posture and avoidance of injury as well as correct technique. ... was very approachable and willing to share her knowledge and experience in response to questions... a number of interesting discussions arose naturally out of the dance sessions... a workshop with her is an opportunity not to be missed.

Hadia gave us two inspiring performances, one being her exquisite cane routine. The audience response was electric and all commented on Hadia's ability to connect with her audience."

Sahda, Newsletter of the Middle Eastern Dance Assoc., Vancouver, B.C., Canada

"The Lila and Mayodi show put on by Hadia was a real treat. ...one of the most exciting shows I'd seen in a long time. ...Hadia performed to Masha'al with her troupe and her choreography was, as always, sublime. Hadia as a particular gift of musicality - setting movement to the music - that goes far beyond anything I've seen by the likes of Nagwa Fouad or Soher Zaki."

Evelyn from Paris, France

"When Mayod (of Paris) introduced Hadia to us as "the best", he was not exaggerating. Although I am not one for idolizing, I acknowledge Hadia as a true master of this art form. What I appreciate the most about Hadia's teaching is her generosity. She clearly and completely explains the "how to's" of this dance. I learned and discovered more in the five days with her than the entire seventeen years of my studies of oriental dance. Now I know that I have a lot of work still ahead of me but also that my students will benefit from this new knowledge and perspective."

Arabesque Dance Studios, Toronto, Ontario, Canada

"The Hadia workshop has come and gone! Registration for the two-day event was healthy, with participants coming from all over southern Ontario. Hadia taught cane on Saturday, a drum solo choreography on Sunday and oriental both days. Students appreciated Hadia's teaching style, her personality and magnetism all of which won her many fans/friends. And sandwiched between the two busy days of workshops was the exciting Middle Eastern Dance Cabaret! The show was a huge success, packed with encouraging audience members and dazzling dance performances. And it's interesting to witness how many shows were creative fusions: Aziza belly dancing to Backstreet Boys, Yasmina and Sashar with Azerbaijan/Bellydance fusion, Layali Shehrazad with American Tribal Dance, Ilana's innovative veil and drum piece and so much more! Then there was Hadia's shows. She did an adorable cane routine n the first half and ended the show with a dramatic oriental show and a rockin' drum solo!

Virginia Beach Workshop by Shari W.

I wanted to e-mail you to let you know how much I enjoyed the workshop you gave in Virginia Beach this past weekend. Even though I've been dancing for such a short time (7 months). I feel like I've learned so much from your classes and I'll be able to apply that knowledge to anythign I do in the future. I'm sorry so many people were scared away from the hurricane, but I guess the smaller classes were to my benefit and maybe Taaj will be able to bring you back again for another session when the weather cooperates! Anyway, thanks again!

"Oh, you are going to LOVE Hadia!
by Taaj, VA

I sponsored her last year and can't wait to get her back. She is one of the most under-rated and under appreciated (because she doesn't put out all that hype and self-promotion garbage) dancers in the U.S. ever. She is a professional Flamenco, ballet, modern, Polynesian AND Middle Eastern dancer. This lifetime of training reflects in her warm- ups, her carriage, her instruction, her dancing, her everything! I never new what the phrase "dancer's dancer" meant until I saw it embodied in Hadia. It's all in the eye of the beholder, but my two cents worth is that Hadia is one of the best."

Oasis Dance Camp South, November 5th – Sunday, November 9th, 2003:
by Lucia

.... despite their celebrity status, Cassandra and Hadia are modest about their accomplishments and immense talent. They are truly exceptional role models in arts/dance culture.

....Hadia taught a technique class designed to improve our flexibility and to increase ‘passion’ in dance moves. The two instructors’ regime complemented each other well. Hadia also began to teach us flamenco dance. This was my first introduction to Flamenco – and I discovered it is very challenging! She taught flamenco/oriental fusion choreography to Spanish song. The diverse moves were fun and unique.

....Hadia’s first dance was the flamenco gypsy-oriental fusion choreography that she taught us. Her performance was outstanding.

Hadia’s flamenco gypsy moves were beautifully passionate, precise and fiery. She transferred this passion to the rowdy audience. Hadia’s second performance was sassy and oriental. She glided effortlessly and displayed grace, showmanship and skill.

I could have spent the entire evening watching both dancers. They were so unique and lovely with diverse styles and personality. It is easily understood why they are in such great demand – as performers and instructors. The audience was in awe with Cassandra and Hadia’s performance.

....I think this was a wonderful and well-organized workshop with great instructors. The quality of dance instruction was superb. The opportunity to meet other dancers and make friends from dancers across the nation was terrific. I highly recommend all dancers to attend a Oasis Dance Camp if possible. The workshop was $445 excluding airfare. This included hotel accommodations, classes and meals. I wished the workshop lasted longer.

For further information about the workshops, please contact www.oasisdancecamp.com or www.jawaahir.org.