A big opportunity
With Raqs Sharki currently going through significant new sensational transitions, there's no more important time in history to turn to our roots, and take a moment to ground ourselves by reconnecting with where it all began. Dancers such as Samia Gamal, Taheya Carioka, Naima Akef, and many others revolutionised the indigenous dance of Egypt with the kind of star power that rendered them legends unparalleled and beloved to this day. An understanding of the underlying, often elusive technical and performance factors that made these early pioneers of raqs sharki enduring stars highlights how important these principles are in our own dance today, and reminds us not to lose sight of them in the flurry of latest innovations. In the face of modern trends and the challenge to keep up or become irrelevant, dancers of all genres – oriental, ATS and fusion - will delight in discovering that the Golden Era years of the early 20th Century are brimming with reminders of what's really important in this dance; of the timeless principles that make a dancer shine on stage and glow with delight from within.
Studying the Golden Era thus offers a reprieve from overwhelm, a temperance and balance to your performances and unexpected feelings of sisterhood with pioneering women across the ages. It not only connects us deeply with our history, but helps us to move forward with confidence, clarity and a rock solid foundation from which to develop the dance and take it into the future. Significantly it can help counter feelings of 'disconnect' and can return you to the moment you fell in love with this dance or, for newer dancers, it can bring greater depth to the love affair you are embarking on.
I invite you to join me in 'Going For Gold – The Golden Era Project' as we draw back the velvet curtain on this era and perform some reverse alchemy deconstructing the technique and dance patterns of the stars and making them your own.
The project is delivered in two separate parts. Part I, over 5 weeks, is an intensive weekly course full of technique combos and history and Part II is a show-stopping choreography that will feature at the Princess Theatre at Lorna Of Cairo gala show – more on Part II later.
Margaret was able lead me on a journey to the soul of Golden Era style. I enjoyed travelling back in time to explore the famous dancers and ways to express the style. When I dance in the Golden Era style, I find myself closing my eyes, so I can really luxuriate/delight in the feeling of the movement. Margaret showed me how to modify dance steps and arm moves I already knew, so that I could move in the more graceful Golden Era style. I came away with an appreciation and better understanding of Golden Era, as well as a bank of new dance moves. Cassie Keong
When Margaret showed me the Golden Era style of belly dance, I loved it and couldn’t wait to learn. Her teaching is thorough to not only show how to dance it but the history behind it. I love how sensual it is. We all have a little diva inside us all! Golden Era allows us to escape! I love learning from Margaret, she is patient and very knowledgeable. Liz Nagy
In Going For Gold – The Golden Era Project, Part I, you will learn:
- how to harness the gifts of the Golden Era to refresh and refine your own dancing
- a new lush dance vocabulary of precision and richness.
- the eternal performance principles which defined the Golden Era
- the fascinating stories of raqs sharki pioneers: scandal, resilience, ambition, betrayal, affairs, back-stabbing, beatings, sabotage and triumph against all odds
- the trademark moves of the era and the stars such as 'Golden Era Figure 8s', 'Tahiya-Style Break Circles', 'Samia's Signature Arms', 'Naima's Arabesque Array', just to name a few of the signature moves we will cover
- how to use stillness and simplicity to imbue a sense of expanded time and space on the stage
- how to reacquaint with and dance from your core; re-engage, drill and hone your core muscle set
- complete 16 and 32 count choreographed mini routines to hack your improvisation and choreographies
- how to super-size your stage presence and ramp up your star-power by finding your unique, authentic voice as a dancer, believe in it and then really milk it!
A bit of Golden Era background...
For the last century and a half, the historic record tells the story of a dance form that has been evolving and diversifying into forms unrecognisable to the original. During the last decades of the 1800s, the dance was already on the move from the street festivals and lounge rooms of Egyptian neighbourhoods and into Cairo entertainment halls. By the 1920s the stage was literally set for the emergence of a revolutionary 30 year epoch of Egyptian arts: music, dance, theatre and cinema; which we now know as the Golden Era.
“These were the first fusion versions of our dance”
Now is your opportunity to circle back in time to one of our dance form's first big periods of evolution; when the dance was re-imagined as staged entertainment catering to socially and ethnically diverse audiences. These were the first fusion versions of our dance that blended the intention and dance vocabulary of local dance with the intention of 'theatre' entertainment and a dance vocabulary that included pan-Arab and international influences. Socially, instead of dance existing as incidental entertainment attached to cultural celebrations, now dance existed as the very reason to gather in the first place; in purpose-built venues! As more venues opened in which to showcase dance and other entertainments, entrepreneurial theatre owners influenced by trends from Europe and the Americas introduced and fused new ideas in costuming, choreography, stage craft and theatre design with Egyptian style. It was an age of unprecedented creative innovation that changed the course of the dance forever.
So what exactly was happening on dance floors during the Golden Era in the first half of the 20th Century? What were these legendary dancers doing that made them immortal?
They weren’t just performing the indigenous dance of Egypt transplanted on a glamorous stage and their exceptional beauty and elegance was not the main reason they became the most beloved dancers in Egyptian history. Rather, these women were doing the dance in new ways, to new music, in new venues and costumes all of which Egyptians still identified as 'Egyptian' but with delightful, exhilarating twists. The very term Raks Sharki appears to have been born in this era to describe this emerging new dance genre that artfully fused pan-Arabic, Western and European entertainment principles and dance vocabulary with the indigenous dance form. Accordingly, small music ensembles grew to full orchestras with innovative scores and new instruments. Stages were introduced that subsequently increased in grandeur requiring the dance to 'expand'. Choreographers from Europe were utilised to introduce travelling steps and to help dancers extend their limbs, postures and their stage presence. Costumes were adapted glamorously to be reflective of stage lighting and to admired from down the back of large auditoriums.
The arrival of the cinema industry during this era brought its own demands on performers with greater focus on personality, story telling and close up shots that demanded the dramatic articulation of head, shoulders, faces and chests. The blockbuster films were screened and adored over the whole of the Middle East and beyond and the changes to Rak Sharki were spread and galvanised as the 'state of the art' to which dancers professional and amateur alike all over the Middle East aspired.
Who is this course for?
The 'gifts' of the Golden Era are many and multi-layered, and will speak to a diverse range of dancers not just from different genres but from dancers at different points in their dance journey - from those seeking the historic and cultural education and context they need or may have previously missed, to those wanting to expand their technique and stage presence, to those experiencing disconnect and loss of enjoyment from their dance.
It's for those interested in Historic and Cultural Context
It's a matter of integrity and respect that every dancer should understand the genesis of her art form and the body of work of its early pioneers. What was happening in the Middle East and in Egypt that was a catalyst for the emergence of Raks Sharki and it's spread across the globe? What made the first dance stars of the Golden Era loved and admired not just in Egypt but throughout the Middle East to this day. In this course we take a moment out of your dance journey to honour the pioneers of the dance and understand the history of this amazing artistic era of transition. It will deepen your love of the dance and give you ultimate context and clarity. You will dance with greater import and reverence as you find yourself manifesting the brilliant artists from the past to dance beside you whenever you take to the stage.
It's for those wanting to Become A Better Dancer
There are tangible reasons why, even today, the stars of the Golden Era are the most frequently mentioned by Egyptians as their favourite all time dancers. In this course you are going to discover the essential elements of this 'x factor' (you'll be surprised at the main one) and you are going to be able to integrate it into your own dancing. Together we will deconstruct their technique, analyse the brilliance of their performance skill and make it all work for us now.
When a dancer learns the style of someone like Naima Akef, not only will she be learning the techniques and depths of Naima’s interpretation but also she will move away from her own habits and challenge the anatomy of her own dance to accommodate the genius of Naima Akef: accuracy, perfect translation and perfect emotion in flight. Serena Ramzy
It's for those yearning to Reclaim! Rejuvenate! Re-emerge!
There are so many dancers desperately in love with the dance who are also struggling. The struggle may be born of injury, disconnection, burn out, ageing, or the struggle of remaining relevant in the face of latest trends that they don't wish to follow. They may be a younger dancer coming to terms with a new health condition or a mature dancer feeling their body entering a new phase of life and may not be as flexible or resilient as it once was and they're looking to dance with lower impact. But we are still the same dancer and performer inside! We want to remain dynamic and captivating and have a powerful presence on stage. We still want to dance with authenticity, intelligence, depth and integrity and be memorable. Perhaps the biggest gift of the Golden Era is the affirmation to celebrate YOU in all your unique, original, authentic glory. You will discover all the gimmicks, the trendy moves, the costume conundrums and external searching will fall away as you follow the stars of the Golden Era inward to rediscover your 'self' and learn to celebrate that when you dance.
TO JUMP ON BOARD THE ADVENTURE, REGISTER NOW TO TAKE ADVANTAGE OF SOME WONDERFUL EARLY BIRD BONUSES
BONUS NUMBER ONE
Those fully registered and paid by Aug 8th will receive a CD compilation sampler of 10 of the most enigmatic and danceable tracks of the Golden Era*.
BONUS NUMBER TWO
Be one of the first 10 people fully registered and paid and receive a beautiful Golden Era Journal Kit – A blank journal to document your Golden Era course with a colour cover designed by Margaret plus 5 sheets of full colour Golden Era Clip Art with which to decorate the journal or use as you wish. (Valued at $25)
It's GOLD at the end of my rainbow - my own story...
In 1998 my life changed forever when I took my first bellydance class. It must have been a case of a hungry soul finding the perfect and ultimate nourishment because it immediately consumed me physically, emotionally, socially, creatively, intellectually and yes even spiritually as my spirit and zest for life soared. In 5 years I was performing and teaching the dance and opened a thriving dance school with a permanent studio. Fascinated with Egypt from childhood, the dance also lead to a love affair with the country. With my husband, who I met there, I continue to lead soulful tours for dancers to Egypt which I have been doing since 2007.
20 years of dancing, dreaming, travelling all things Egyptian is a small lifetime and I've seen many changes in the dance and the dance community locally and abroad and I've watched on with intrigue while maintaining confidence in my own focus and direction. But at some point, I have to admit, things finally began changing within me too. I finally began experiencing a feeling of disconnect that was ushered in by several coinciding factors.
“I found myself questioning where do I fit now in all this? I knew I was at a cross roads.”
For me, the triple joys of injury, illness and aging came knocking at a similar time. Coming to terms with these things was further compounded by observing a new generation coming on the scene with their own take on the dance and pushing the dance in new directions that I didn't particularly wish to follow. I found myself questioning where do I fit now in all this? I knew I was at a crossroads. The universe unfolds in mysterious ways though and fate was in the background working toward a solution I never saw coming.
Parallel to my dance life, my personal life was moving along nicely. I met, fell in love with and married my Egyptian partner and he migrated to Australia. Now, every Egyptian I have ever met is an 'expert' on Oriental dance and hubby was no different and very forthcoming in discussing his opinions (even when unsolicited lol). Together as we pondered all sorts of aspects of Egyptian dance we would try to work out why it was so hard for non-middle eastern dancers to get the same look and feel as Egyptian dancers. Naturally I was trying to pick his brain in the search for insights or lightbulb moments that would improve my own dancing and help my students. He would often refer to the dancers he saw in the old Egyptian movies he grew up with and we would watch YouTube clips of the likes of Samia Gamal, Taheya Carioka and Naima Akef and study them to discover their secrets. The findings of these investigations could probably form the content of a separate course on the secrets of Egyptian style but a different, unexpected treasure was unearthed in the hunt; I became totally enchanted by the Golden Era style.
“I discovered that the matured gaze I had developed over the last 20 years afforded me a much greater ability to understand and appreciate exactly what these women were doing...”
Every fledgling belly dancer, quite early in her journey, comes across the historic stars of the Golden Era and is told by their teacher to study these early dancers, look to them for technical inspiration and uphold them as benchmarks for excellence in our art form. As a fledgling dancer I was no exception. But more recently as I returned to their old clips with my husband and began to dissect and analyse and attempt to imitate their technique a newfound love and appreciation descended upon me. I discovered that the matured gaze I had developed over the last 20 years afforded me a much greater ability to understand and appreciate exactly what these women were doing; their musicality, their star power and command of the room, their incredible muscle control, stamina and strength, their fluidity, their ability to choose to do very little and yet still have you in the palm of their hand, their calm centredness, poise and self belief – it was like I was seeing all these things for the first time. I finally got it. Although it wasn’t the precise lightbulb I was looking for, it was a burst of brilliant light that cast clarity and sharp focus on the beauty and depth of the arts of the Golden Era. It was impossible to ignore!
So I began to devour the old movie clips and I read every article and book on Egypt's Golden Era and poured over YouTube to find the work of other dancers who were trying to emulate the style of the Golden Era. As I indulged my new obsession in the studio and on the internet, I began to feel, both physically and spiritually, an incredible sense of rebirth and renewal. I was experiencing feelings of excitement and discovery I hadn’t felt for many years. Intellectually I was fascinated by this intriguing time of political and social transition in Egypt and artistically I was enamoured with the 30s, 40s and 50s aesthetic, the richness of the music, the elegance of the dance vocabulary, the classic clean lines of the costuming. Creatively, I was thrilled by the challenge to manifest the elusive essential vintage vibe that would sweep audiences back in time.
“Just as I was beginning to feel a disconnect with the dance that had been my life for so long, the Golden Era reached out to me and pulled me right back into the dance's heart”
As a bonus, the era's focus on personality, stage presence, star power, pared-down yet intricate technique was also kinder to a body that was no longer as resilient and flexible as it once was. It even allowed me to rediscover my joy in glamorous costuming and presentation that was a little more elegant and covered. Just as I was beginning to feel a disconnect with the dance that had been my life for so long, the Golden Era reached out to me and pulled me right back into the dance's heart. I began enjoying the dance again as the Golden Era reminded me to use ALL of me – my body, soul, personality and uniqueness and this allowed me to not get hung up on my injury or perceived limitations.
The Golden Era has helped me find myself and reconnect with myself and remind me that this “self” is worthy of bringing to the stage. Serena Ramzy describes this celebration of the individual;
The first thing I learned from (the stars of the Golden Era) was that I should be like ME, just as they were being themselves... An admirable aspect that I have observed from studying this style is that it was never a competition of who can do more, but having the aim of being more individual and unique by being themselves; not by being like the other dancers and doing more than them or be stronger than them, but just being themselves. I guess if they were too busy trying to find out what others were doing in order to copy them, they would not have time to be as good as they were.
A final personal note
Being a teacher I find ultimate meaning in passing knowledge on. By highlighting and passing on the gifts I have discovered in the Golden Era to others it has helped me find meaning beyond the personal improvements to my own dancing and satisfaction. Serendipitously the style itself resonated deeply with where I felt I was in my own life as a maturing dancer reflecting on themes of legacy, purpose and relevance in the dance form. In putting what I have learned into a teachable course of study, I feel I am making a small but important contribution to the integrity and healthy propagation of the art of bellydance by ensuring the enormous body of work of the pioneers of Raks Sharki is understood, respected and utilised and that the multi layered gifts of the Golden Era continue to benefit new generations of dancers to come.
Serena Ramzy elaborates further:
...other styles of dance truly acknowledge the amazing work of their masters ... In ballet, Lady Margot Fontaine and Rudolf Nureyev, Balanchine are revered till today – not thought as simple and out dated! It is not only a matter of reverence, or because it is fashionable now to study vintage material. It is because they are our history and our background and without the understanding of them and their art, we have no basis in our dance and the art form gets more and more watered down and altered. Development is inevitable and also desirable, but not without a stable and solid foundation to stand upon.
I have fallen in love with the era in Egypt known as its Golden Era and all that this entails; I have been transported to another time and place marked by its distinct music, its fashion, the hairstyles, the Art Deco and Oriental performance spaces, the elegant glamour of the costuming, the dramatic staging of the dance numbers, the personal life stories of the big dance personalities, the profound political and social changes happening in Egypt at the turn of the 19th Century and into the first half of the 20th Century; a time potent with possibility and exploration; a time that forever altered the course of Raks Sharki. To revisit and discover anew the technique and performances of the Golden Era dancers has totally changed the way I dance and has grounded me, inspired me and rejuvenated me more than I can say but more than that, it has settled my feelings of disconnection and I feel more strongly connected to this dance now than I can ever remember.
Dancers & teachers around the world have this to say about the style...
It is elegant, pure, charming, and without rush... Studying Golden Era Bellydance opened my eyes, as an artist and as a woman. It changed my own form of dancing, not only by adding this style in my repertoire, but also changing the way I dance in general. Watching hours and hours of old videos, reading and listening to interviews, collecting pictures and information... All this shaped the way I dance now. You never know, maybe golden era bellydance will inspire you as well... Badriyah1, Czech Republic
Golden Era style has became a significant part in my dance style and the way I feel the art of Oriental dance. It has something that is enchanting me - playfulness, sensuality, softness and femininity. Julia Farid2, Ukraine
I have been immensely inspired and have learned a vast variety of movements. Each dancer I have studied the style of has widened the horizon of the ocean of knowledge that I have gathered from these artists, making the dance as we know it today, even where it seems so far from what they were doing… you will find their in influence there somewhere. ...I strived to follow their style of “precise and rich simplicity” to the best of my ability as I was, am and will always be incredibly inspired and influenced by them...Each one of them took me on a journey where I did not want to return.
Any of the dancers of today, definitely including myself, have learned from someone who learned from someone who learned from someone and so on, that have learned from the starts of the Golden Era. Therefore, learning directly from (the Golden Era) is the closest anyone can get to learning from the real thing and to the dancers before them, who in their turn where even more genius for having inspired them and who inspire us today. Serena Ramzy3, Brazil/United Kingdom
Here are some more thoughts from students who have already tasted the Golden Era with Margaret
I take my hat off to Margaret's teaching methods and introducing me to The Golden Era style of dance. This style is graceful, sensual and has a feminine flow taught with it. It has helped me to breathe and slow down and control my movements in dance. Teresa Strangman
We are very lucky to have Margaret working with this style. Not only is she able to carefully articulate the movement from the Golden Era but also compares between this era and later eras. She also looks at the signature movements of each famous dancer, noting frequent traits they used in their performing, postures, feet, hips and shoulders. If you want a full immersion into the Golden Era style I would highly recommend studying with Margaret. Emily Farrugia
Learning the Golden Era moves and combos and doing them to the old music has taught me new ways of interpreting music. I never would have thought of doing certain things to certain parts of the music but it feels so right now!!!! It's totally made improvising less daunting to me now! It's given me permission to do things I thought were no–nos. Laura Sinclair
Golden Era Bellydance is unlike other classes I have done before. Although there can be choreography, Golden Era allows you to bring out your individuality and expression. Beautiful music! and Margaret really knows how to bring out your best with the obvious passion she has for this particular Belly Dancing genre. Ilve Hunt
The Golden Era style has added to my own repertoire of movements. It is a soft, gentle and easy way to dance and a joy for all women of any age. The costumes of the Golden Era are so glamorous we can't wait to put our own stamp on this style at our next performance. Helen Hunter
I find “Golden Era” style so much more easier and feminine for me, it’s elegant and beautiful to watch and learn. Margaret is a fantastic teacher, very patient and her style of teaching is easy to understand. Melinda Lindsay
Elegant, feminine dance that brings out the softer, romantic side in me. Sharyn Albrecht
I loved how Margaret was able to take me back in time to the Golden Era. Her teaching style is gentle and encouraging, a true blessing to learn from. Elena Stekiewicz
Golden Era dance style reminds me of the beautiful and glamorous styles of the 20s, 30s, 40s and 50s. Where women were feminine and men impeccably dressed. A happy place to visit with sensuous dance. Thank you for introducing me to this beautiful dance style Magharita. Robyn Leam
Going For Gold - The Golden Era Project is a two part adventure (for those who want it all!) Part 1 can be taken on its own and consists of the nuts and bolts of learning and is delivered in 5 sessions over 5 weeks. Part II, for those wanting more, is all about taking it to the stage (at the Princess Theatre on Nov 2nd) and consists of learning a choreography via a workshop and video consolidation, a workshop to learn vintage hair and make up, two rehearsals and the feature performance at the Lorna Down Under Gala Show at the gorgeous art deco, Princess Theatre which was built during the, you guessed it, Golden Era!
Overview of the programme
In the course you'll get to know the most influential stars of the Golden Age – men and women – and become familiar with what was going on in Egyptian society that caused the transitions and innovations that changed our dance forever. You'll learn the essential differences between modern and Golden Era technique and approach to performance, and we'll get reacquainted with our core by learning drills to strengthen, define and speed up our torso movement, and discover new arm, head and shoulder moves Golden Era style! But that's not all! We'll start integrating the new movement vocab into our bodies by learning a series of gorgeous short sequences that contain all the major new techniques we have covered. These sequences will act as a living catalogue for your future reference as well as standing on their own as fun combinations to use in your choreography, drills and improvisation repertoire.
Here are the Modules of study for undertaking the dance style of the Golden Era and whether you enrol in the course or not, these are the areas you need to know should you want to perform the style with integrity so it's worth taking note. Within the course, these Modules are further broken down into the topics of learning noted which form the content of the classes.
- Gold Rush!
Understanding Catalystic Social Transitions of 19th & 20th Centuries in Egypt
- The state of the art pre-Golden Era
- From Street to Stage;- Advent of the Entertainment Hall
- Going Silver;- Changes wrought by the cinema industry
- 150 Year Time Line of historic events which impacted the dance
- Dancing With The Stars
Understanding respective contributions of prominent artists.
- Musicians – Orchestra changes, Composers, Singers
- Entrepreneurs – Theatre Owners and Trend Setters
- Dancers – Six Of The Best In Depth
- All That Glitters Is Not GOLD
Mastering Essential Dance Techniques that define the Golden Era
- Posture differences
- Signature abdominal movement
- Typical arm and upper body work
- Personae and personality of the era
- Core-strengthening drills
- Golden Rules
Musicality Of The Era
- Essential differences in music interpretation between then and now. “Dos and Don'ts”
- Going For Gold
Putting it all together to perform
- Sequences and combinations for choreography and improvisation
- Bringing the 'self' forward
- Room for personal innovation
- Don't Just Do Something; Stand There!
- Take It To The Stage!
Presentation of Dancers and Performance Spaces of the Golden Era
- Dancer costume, hair & make up of the Golden Era
- Staging – solo and troupe presentation
- Theatre setting vs Movie setting
Modes of Delivery
Part I ($165)
Contact time – 1 workshop (consists of two back to back sessions) and four 2-hour Friday evening classes. (Movement broken down/drill/one on one feedback)
Audio – Lecture, teacher instruction, Sampler CD (for purchase), Class intructions
Visual – View clips in class, Handouts containing class content, teacher demonstration
Homework – Combinations to practise, drills to increase skills, Video Consolidation
Learning extension – Facebook Group with links to info, articles, books, pictures and class content
NB Please note I DO allow individual videoing of combinations at the end of each class for personal consolidaton at home.
Part II (optional - $85)
Hair & makeup workshops, Dance workshop, 1 evening class, Video consolidation, Choreography notes, Rehearsal, Performance
Venues and Timetable
Venue To Be Advised
With enough expressions of interest and registrations from dancers outside North Brisbane, I will be willing to hire a venue in one of the inner city halls. I would need a minumum of 10 such registrations for this venue to go ahead. Should this number not be reached and you are unwilling to travel to the final venue, I will refund your full registration immediately. With enough interest, I would also be willing to run the course in two locations.
Timetable Part I
Friday nights: Fri August 30 then, Sept 6*, 13*, 20*, 27*
*One of these Friday nights will be replaced by a Saturday workshop. The date of the Saturday will be nominated by group consensus.
Timetable Part II (optional second choreography & performance course)
Sun Oct 6th - Dance Workshop (time to be advised).
Sun Oct 13th - Vintage Hair Styles Workshop (1½ hours). Makeup Workshop (1½ hours)
Friday night Oct 18th - Dance Class
Saturday afternoon 26th Oct - (Staging Workshop & Rehearsal)
Optional extra class offered during the final week (evening nominated by participants)
Sat night Nov 2nd - Rehearsal & Performance at Princess Theatre
What you will need to bring for classes
Device for video recording, notebook & pen, dance shoes or jiffies, water, stretch mat or towel, full skirt.
What is expected of you
As Golden Era abdominal technique can be full-on, your experience of the course will be enhanced by practising the strengthening drills taught in class. Also each week short dance combos will be taught and you will be expected to practice the combinations at home so they can be built upon during the next class.
The choreography in Part II will be taught during a workshop and you will be provided with video footage of the choreography breakdown. You will be required to practise and refine the dance in your own time after the initial workshop. Your progress will be encouraged by 2 follow up sessions and optional extra sessions will be offered upon request. You will be required to put together your own costume using some basics you will probably have at home plus some embellishments that we will order online (minimal extra cost eg $20). Golden Era costuming is very simple and elegant and the look is easy to achieve.
PLEASE NOTE – It is possible to participate in Part II without actually performing.
Full Refund given should I cancel the event for any reason or move the venue to a different location that is beyond your ability to travel.
Full refund given for any reason if I am notified 10 days or more prior to the start of the course (by the close of business, Aug 21st).
No refund given for cancellations within 10 days of the course starting or after the course has started (this is due to venue matters). In this case, you are welcome to 'on-sell' your place in the course to someone else.
In case I fall ill, every attempt will be made to make up the missed session to the satisfaction of all participants based on group consensus.
*CD Sampler offered as an Early Bird bonus. The Sampler is a mix of my personal favourite tracks that I find most fun to dance to. They will enable you to get a feel for the sound and musicality of the Golden Era and practice your combinations to. I do not wish to prevent original artists and music producers from benefiting from the sale of their work therefore the tracks are edited versions of the songs. I encourage all to buy the full version of the tracks you wish to use in your dancing. I have used only tracks that are easily located, purchased and downloaded on the internet.
- Zychova, Lenka (@badriya_bellydance) (2018) Instagram Photo (@tundedora) https://deskgram.net/explore/tags/shabaka2018
- Farid, Julia (@Julia_Farid) (2019) Instagram Video (Meiyan Oriental Dance Festival in China ) shared at https://www.instagram.com/p/BsYfHqyiG-E/
- Serena Ramzy (2015), http://www.serenadances.com/2015/09/20/the-stars-of-the-golden-era-of-egyptian-dance/