I’m a second-generation performer having been involved in the bellydance community for 30 years. (yes, I started at a very early age thanks to my mom, Ne-Kajira Jannan - love her!.) I’ve taken numerous workshops on various authentic styles and believe folkloric training is essential to every dancer’s foundation. While I’ve performed for many years I only started teaching about ten years ago. I didn’t believe I was worthy, which is why it especially shocks me when people start teaching two years, six months, or even eight weeks (!) after taking their first class. Ballet students would never have the audacity to do that so why do bellydance students? Moreover, why do people take classes from them? With all my years of training I still don’t claim to know everything about the dance or cultures, and am the first to advise students to take from as many people as possible. How else to know we’ve found our favorite style? Or that our teacher is a quality instructor? Rarely is a skilled performer an equally skilled teacher, they are two completely different talents. I’m not a belly bunny and I take an education in dance very seriously. (ya think?) I’ve met numerous dancers with more unbridled enthusiasm than self-discipline. Why tolerate a mediocre performance when it is our very selves that we present out there? It’s not about being the best dancer; it’s about truly delivering our personal best. And the audience can tell (and respond to) if the heart is there even if the skills are lacking. My standards are high but they’re based on many years of watching damn good performers and instructors.

My particular style that I specialize in is American Fusion Bellydance, both the tribal and nightclub styles. I’ve performed various folkloric and African dances when I was a member of the Amaal Middle Eastern Dance Ensemble and Theater in the Pacific Northwest (being originally from the Seattle area). I currently direct the Kadira Noor Dance Ensemble in Connecticut which perform both Folkloric and Fusion style choreography. There are some who might define Fusion as dancing however you want to whatever music you want but that is far from reality. Fusion is intended to be reflective, both physically and musically, of the Middle Eastern, African, or Indian regions. (think of “Desert Rose” by Sting or fortunately much of the Global Music being produced) While I may combine Turkish, Egyptian, and Jazz movements for example, I never solicit a Fusion performance as an authentic cultural representation, and my background provides me with the knowledge to distinguish between the regions of those movements. If I dance to an Indian pop song, I’ll use Indian-styled movements, if it’s Moroccan, likewise. I enjoy the discerning freedom of expression that Fusion allows but respect Traditionalists. That being said, Fusion is no less deserving of respect, and is as innovative as Riverdance (which I’m sure ruffled a few Irish Step purists when it first emerged.) As serious as I am about the integrity of the dance, I love it with a very great passion and joy and the community it has gifted me with; it has literally been my life. I have met hundreds of empowered, wise, and kind women because of it and I am grateful. And I think everyone deserves the opportunity to challenge themselves to do their very best at it.

Now all of that intensity aside, I also have a lot of fun at it too! :)