Hungary

Tia Tifany was my first teacher, I was a member of her school for 6 years. Tia introduced me to the basics of the classic Egyptian belly dance. Tia was a pioneer of classical Egyptian belly dance in Hungary. Even today, I like to think back on his lessons.

Anna Vitalís, from whom I learned the Turkish-style elements of belly dance on stage, and also showed me the characteristic combinations of the European-style revue. I learned a lot of useful things from Anna, about dance and a lot besides. Thank her for accepting me as student.

/Egypt

Between 2002 and 2011, I took part in various professional dance trainings several times a year in Cairo: these were the legendary Magraganat el-Raqs Sharqi professional forums: The two most significant are Ahlan wa Sahlan and the Nile Group.

The Egyptian dance masters Mme Freiz Said and Mme Aida Nour made an extraordinary impression on me. Freiz was a soloist of the Egyptian National Dance Ensemble (Kaomeya Troop). Aida Nour, a former Reda Troup dancer, became famous as a solo dancer.

Mme Feiz can display the authentic Arabic range of emotional expressions of oriental dance with virtuosity. In addition to being a master of all Egyptian dance styles, even the most extreme forms of expression appear in his dance in a surprising yet harmonious unity. Aida Nour: Organizer and artistic director of the Nile Group Festival. Aida is a master of Egyptian raqs sharki and diverse folk styles, she comes from Alexandria, in her hands the melaya, a character prop reminiscent of Alexandria’s typical folk dance, comes to life.

In Cairo, I met Mme Dawlat Ibrahim as one of the pure sources of classical raqs sharki. Mme Dawlat is the founder and master of the Kaomeya Troup, which included Mme Friez, Lubna and many of the Nile Group teachers. Mme Dawlat’s system is a pure and authentic Egyptian source, as is Mahmoud Reda’s technique.

Mahmoud Reda: master of Egyptian folklore styles. Following his work, character dances derived from folklore styles were formed. In the more open era of folk arts in Egypt, the Reda Troup represented the genres that were then represented as folk members. The uniqueness of the Reda technique is given by the stylistic features written on the character dances. Egyptian nationalism also supported folk styles in the arts, and dance groups also had a place in that era.

Mahmoud Reda’s work created the stylistic framework and clean, precise, elegant technique of character dances of folklore genres. Reda created a canonized system, which many contemporary performers refer to as the ballet of the East. It took me years and a lot of practice to master this technique. Mahmoud Reda’s partner, Farida Fahmy, is the female soloist of the Reda Troup. Farida taught the basics of dance and perfecting basic movements.
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I saw Souhir Zaki live once in 2003, I took part in one of his workshops. After that, he didn’t even teach anymore.

Nagua Fuad: I got to learn my Ahlan wa Sahlan festival from him once.

Souhait Zaki and Nagua Fouad are famous dancers of the rising era of Egyptian raqs sharqi, the 1960-1980 tar period. Their movements and style are still a defining feature of oriental dance. You cannot learn from them in the strict sense of the word, since they are not teachers, but living legends of the heroic era of Egyptian raqs sharqi. Seeing them live is a huge experience in itself.

 Magdy el Leisy, Egyptian dance master and choreographer, dancer, member of the Egyptian state dance ensemble

Osama Emam is the master of the Egyptian folk dance. I learned contemporary folklore styles from him, especially Saidit-stick dance, Nubian.

Raqia Hassan is a member of the Reda Troop, a choreographer, and the main patron of the Ahlan wa Sahlan International Belly Dance Festival in Cairo.

Hadia:  Canadian Master Teacher. Hadia is a master of Arabic dances, and is also able to display fusions from other cultures in addition to different worlds of feelings, such as . flamenco, or gypsy styles.

Yasmina Ramzy: head of the Arabesque Dance Company in Toronto, master choreographer, director of the dance theater piece A Descent of Isthar. I met Yasmina in the winter of 2003, during a series of workshops in Vienna.

Momo Kadous: Egyptian dance master and choreographer, excellent dance artist and renowned dance instructor

 Egyptian dance masters perform

Tito excels in folklore styles, and Randa Kamel excels in authentic Egyptian stage genres

:Jillinah, from Los Angeles, is the lead singer and then leader of Bellydance Superstars. Jillina visited Budapest several times. Head of the Bellydance Evoulution Project

Futher teachers:

Ibrahim Akif, Dina, Waffa Fawzi, Jusry Sheriff, Souraia, Mo Geddawi, Tito, Randa Kamel, 

Hadia, Yasmina Ramzi, Lesya Starr, Chellcy Rietsma, Eldridge Curmi, Djamila