RHYTHM FOR LIFE

Today I was chatting to my wonderful friend and master musician Amir Ezzat and like the rest of the world, he is also enduring COVID restrictions and loss of work. Egypt has been through so much, especially in the last 10 years…..and when I was last there in 2017 we were hoping for better days ahead for this most beloved country. Egyptians have proven time and again their solidarity, resilience, courage and faith – this being yet another test of their capacity to endure and thrive. But back to the prodigiously talented Amir Ezzat ….. I first met Amir a few years ago when we worked together in France. I was struck by his relaxed approach, adaptability and above all his supportive demeanor as he accompanied the dancers during the workshops and during performance. However today I discovered that he is not only a highly accomplished musician, but also a crafter of the finest percussion instruments. Here is a little more about Amir:

‘Amir Ezzat holds a bachelor degree in Arabic music, a diploma in oriental music and ethnomusicology. Amir was born into an artistic environment in El Minya and started to play the Egyptian tabla (darabuka) at the age of six. As a young percussionist, he joined various music groups and participated in music competitions, winning one award after the other. At the age of 18 he moved to Cairo and joined the High Institute of Arabic Music. Today, Amir Ezzat teaches at the High Institute of Arabic Music and works as a percussionist in the Egyptian Opera House in Cairo and Alexandria. He performs at various concerts of the Cairo Symphony Orchestra, accompanies famous Arab singers and participates in international festivals such as the Mediterranean Sea Festival in Southern France, the Karthago Festival in Tunisia, festivals in Jordan and the Arabian Gulf. Amir regularly travels to Europe to play at concerts, for example in Austria, Spain, France, England, Hungary, and Holland. He specializes in the different types of Egyptian popular arts and he teaches workshops for young people who are interested in the percussion instruments. As well, Amir makes his own percussion instruments and is a famous Egyptian tabla (darabuka) and riq manufacturer in his country. Currently he is a researcher at the High Institute of Arabic Music’

Click here to message Amir Ezzat via facebook with any enquiries and below some sample pics of his handiwork.

Some pictures of Amir’s handiwork.
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NEFERTITI

Well here is the latest on the tomb of Nefertiti… via the tomb of Tutankhamum (see link below). There is something that doesn’t sit well with me in all of this, an inkling that not enough has been done, not enough positive support given to this project and Dr Reeves. I am very glad to see that it is not over…as some clearly would have hoped. The hyperbole around the theory, (which was inevitable given the subject matter), may have worked against Dr. Reeves. Egyptology – like many art/sciences – can be a minefield of ego, jealousies and politicing. Dr. Reeves has been so patient and respectful in observing the painfully slow protocols that surround this investigation of such an iconic tomb. This alone has garnered my respect and admiration of him and his work. Anyway, just to remind those who might be familiar with the work of Dorothy Eady, a.k.a Omm Sety, who did state “it (the tomb) was in the valley of the kings quite close to Tut’s tomb – it is in a place that nobody would think of looking…and apparently still intact.” Sends shivers up my spine.

https://www.nature.com/articles/d41586-020-00465-y

Nefertiti
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HOLLYOLOGY?

I do find reconstruction work combining science and archeology extremely fascinating, however this research (see link below) is quite different to clothing/banquets/boats/buildings/flora/music/ritual or colour palettes.

I am not quite sure what this research project is trying to achieve. The article explains that there are 3 important anomilies in this recreation, which means it probably does not sound like the 3,000 year old priest Nesyamun in any case! There are wonderful examples of recreations including the sounds of Ancient Egyptian music. However this sits in the bizarre basket – a bit Hollyology or even Frankenolgoy. What next – animation of limbs?

In the last paragraph of this article the author dodges the argument of ethics by proffering justification using the ancient Egyptian religious beliefs. Yes, it was the belief that after death, whenever your name was spoken you ‘lived’ and where rejuvenated in the afterlife.. What are your thoughts? Have vocal chords changed so much in 3,000 years we can not imagine a voice from the past? Do you think it valid research? Where would you rather money for archaeology/scientific research be allotted? https://time.com/5769431/mummy-speaks-voice/

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EGYPTIAN ELEMENTALS DANCE AND MOVEMENT: TESTIMONIALS

‘Juliet has transformed my life and way of thinking, in mind, body and spirit. An amazing talent, so knowledgeable on all levels, uniquely special and has saved me from myself and old ways with respect to poor posture and poor exercise regimes after many injuries in the gym with instructors who have little training and little care. Juliet has helped me overcome old injuries and is completely passionate and graceful in her instructions. In Juliet?s gorgeous studio she has the ability to transcend time and take you to a beautiful place and you leave feeling reborn! Thank you Juliet. A truly beautiful lady!’ N.T.D

‘My life would not seem complete without my regular dose of these fabulous dance classes.After a class I feel rejuvenated and fully alive. My back has opened up, and the beneficial effects I experience after that invigorating blend of stretching, workouts and dancing feel like a combination of what I previously got from pilates and yoga. This dance has tangible effects not just on the physical. It is life changing in that it also works on your psyche, exposing your blocks and where things aren?t in balance. Juliet gives not just a great physical workout but also useful philosophies for life. Juliet?s classes are always varied. While reinforcing the basics she inevitably introduces new challenges that reinforce both strength and flexibility and pushes your boundaries and all to the rhythms of intoxicating music that gets into your blood. If you persevere through the first few weeks, you’ll be hooked for life.Seductive music, group energy, fabulous moves, irresistible costumes and a sense of the timeless and eternal, this is some of what you will experience in Juliet?s classes. She is a born teacher and she will lead you on the dance of your life, where you will discover the real you.’
F.M

‘I have been attending Egyptian Dance Classes taught by Juliet Le Page for a few years. I remember when I first attended class I felt so relieved. At last I had found someone that can teach me authentic Egyptian dance, music and culture. This is important to me because my mother is Egyptian but she left the country when she was 16. Juliet teaches with passion, discipline and knowledge. Her heart and energy goes out to us. The warm up and stretches incorporated in the lesson are of immense value. It prepares me physically and mentally for the dance. Juliet has taught me the structure of Egyptian dance, music and culture. This gives me a deeper understanding of the music.Juliet has taught me to feel the music within and to centre my energy. Her wealth of knowledge in all aspects of dance and the body has been priceless. It has made me connect with my inner core s trength. After class I fell like I am in rhythm with my soul and I am walking to a beat!’
N.S.

‘When I went to Egyptian dance classes run by Juliet Le Page, I felt a deep connection to the dance and music. Being Egyptian myself, I felt as if I was at home. Juliet?s teaching in exceptional. The way she explains the movement, dance and exercise make me understand the music at a different level. My daughter attends Juliet?s classes. It makes me happy to see her learning the dance and culture of the country of my birth.’
M.A.

 

…’Our organisation consists of people who come from Egypt and are well versed in its culture and its arts. Indeed I know some spent their youth actively in the company of artists and dancers. It is my great pleasure to convey to you their most appreciative feedback on your excellent, informative and thoroughly professional presentation. They were most impressed with your knowledge of the history of true Egyptian dance (rather than what is often passed off as such) and the ease with which you embrace its principles.’

M.W.E Egyptologist and Anthropologist

 

‘Thank you Juliet, once again for bringing the gift of Egyptian dance into my life, and with it all the wonderous shifts in my awareness and my energy flow. Every class is a feast I look forward to experiencing! Learning dance from you has been a revelation. I have always loved to dance. Movement and music always excites me, but you have awoken me to so much more. The connection of dance to my spirit and soul. I can’t thank you enough for that.’
DH

‘I am really enjoying these classes – thankyou for your fabulous teaching and breakdown of the dance movements. I appreciate even more now, how it is a long slow process to learn the dance, and how each person has their own personal journey both mind and body to be able to learn the various dance movements. It is really an awakening.
Egyptian dance -Juliet style, reveals your own personal inner world.’ NM

Systrum

‘I have had dancing classes with Juliet for approximately 6 years now. I was told about her class by a friend of mine and I had just come back from a trip to Egypt. So it interested me. I am a fairly fit person having done yoga, gym and some sort of exercise over the years. This dance works your body connecting all the muscles from the ground up. So any weak points are worked on. This dance has made me realise what my weak points are and to work on them. So not only do I have fun dancing, but I know I am also working those tiny muscles on the inside and making sure they are all connected and strengthened. It has taught me to know myself and understand how to use my body correctly.I wish I had met Juliet a lot earlier in my life, but as they say – better late than never.’
VR

‘……I am writing to say how WONDERFUL it was to be in your class today. Not only are you an accomplished speaker, but you are also an excellent teacher, as for your dancing, what can I say! I LOVED it and think that you have got something VERY SPECIAL. The grace and elegance of your movements will put to shame many who dance, even those who have achieved a level of recognition…..’ Malak Egyptologist

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Latest findings on King Tutankhamun’s Tomb

1st March 2019

Ok! Here we are! The latest and possibly the last instalment of the Nefertiti and King Tut tomb saga…. (see past posts) – The Italian team who have completed ‘extensive studies with ground-penetrating radar’ have announced there is nothing behind the walls of King Tut’s tomb and accordingly it seems this is might be the final word.

This tomb is basically a plastered box room, with many inexplicable anomolies (both with the tomb construction/orientation and many of the artifacts), which flaunt the burial protocols for a king in Ancient Egypt. I think to be an Egyptologist you have to be totally entralled and inspired by a good mystery – because sometimes that’s all you’ll get…

https://www.theage.com.au/world/middle-east/mystery-of-hidden-rooms-in-tutankhamun-s-burial-chamber-solved-20180507-p4zdqf.html

May 7th 2018

Well here is the latest (see link below)…..but somehow I sense not the final word, on King Tut’s tomb being in proximity to Nefertiti’s burial chamber. There is something that doesn’t sit well with me in all of this, an inkling that not enough has been done, and even where focus has been exhausted (i.e. side wall chambers), I would like to know what Dr. Nicholas Reeves has to say on the matter. The hyperbole around the theory, (inevitable given the subject matter), may have worked against him. Egyptology – like many art/sciences – can be a minefield of ego, jealousies and politicing. I hope there is some continued interest in the theory. Dr. Reeves has been so patient and respectful observing the painfully slow protocols that inevitably surround such a theory and investigation of such an iconic tomb. This alone has garnered my respect and admiration.

https://news.nationalgeographic.com/2018/05/king-tut-tutankhamun-tomb-radar-results-science/

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DANCING OR DANCER? yes, there is a distinction.

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It is very common for students to meet a particular expectation by externally painting on a shape or being coached to perform, rather than to seek a deeper experience with their bodies, and by extension their movement expression.

Dance movement, indeed any authentic, systemic movement must first be seeded from deep within. Often, in the beginning, the seed is so small as to be indiscernible except to the most trained eye. It is the role of the seasoned teacher to determine which is occurring from the very inception, either a forced veneer of external expression, or the true genesis of the movement. The student, once aware of this important distinction, has the opportunity to develop both the deep unconscious internal knowing and the conscious external structure. During a performance your audience will observe your technique and musicality, but they will `feel` your authenticity. Every ancient civilisation without exception bestows a legacy of stories, and often these stories have become the myths that still fascinate today. Ancient Egypt is no exception and holds its own movement language, ritual disciplines and myths that inhabit this universal and eternal dance of becoming. The body/mind/spirit is inextricably intertwined and we seek refinement and balance to bring freedom, truth and beauty to movement.

Find out more about classes by registering your interest for courses or workshops – where we would travel together on this heartfelt journey.

‘The fruit tree yielding fruit whose seed is inside itself’ Sufi saying

A few testimonials from students:

Thank you Juliet, once again for bringing the gift of Egyptian dance into my life, and with it all the wonderous shifts in my awareness and my energy flow. Every class is a feast I look forward to experiencing? Learning dance from you has been a revelation. I have always loved to dance. Movement and music always excites me, but you have awoken me to so much more. The connection of dance to my spirit and soul…I can`t thank you enough for that. D.H

Juliet has transformed my life and way of thinking, in mind, body and spirit. An amazing talent, so knowledgeable on all levels, uniquely special and has saved me from myself and old ways with respect to poor posture and poor exercise regimes after many injuries in the gym with instructors who have little training and little care. Juliet has helped me overcome old injuries and is completely passionate and graceful in her instructions. In Juliet`s gorgeous studio she has the ability to transcend time and take you to a beautiful place and you leave feeling reborn! Thank you Juliet. A truly beautiful lady! ? NTD x

Link to more testimonials on the EED website ?http://www.eed.com.au/page/dance/testimonials/index.html

Please also follow this link to another blog post ?The Javelin Principle? which may be of interest to more experienced students.

http://www.eed.com.au/blog/?p=1046

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BAREFOOT KISS

“When we walk like (we are rushing), we print anxiety and sorrow on the earth. We have to walk in a way that we only print peace and serenity on thKISS THE EARTH THICHNHAT HANHe earth… Be aware of the contact between your feet and the earth. Walk as if you are kissing the earth with your feet.”

? Thich Nhat Hanh

If you would like to know more about our wonderful feet and how to keep them fit for dance follow this link on ‘The Beauty of Being Barefoot’ from the EED website: http://www.eed.com.au/page/dance/health_benefits/beauty-in-being-barefoot.pdf

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SEED YOUR DANCE

THE SEED - A 5 WEEK EXPLORATION

The acorn does not know a mighty tree exists within it…It simply grows.

‘THE SEED’– This 5 week intro course will gently strengthen and align your body, awakening your innate body/mind/spirit potential. I have spoken at great length of the importance of understanding the roots of a cultural dance – but first and foremost there must be The Seed from deep within you.

In this course we will be exploring:

  1. The very seed of powerful, aligned, balanced, nuanced movement.
  2. The genesis of Egyptian movement traditions and how to seed this into your own experience and expression….
  3. Ancient eastern healing breath/body work to further awaken and deepen your connection with the Elementals.
  4. The latest bioscience findings into body/mind/movement.

You will discover your innate body schema, offering an opportunity to explore a deeper more profound source of movement. After all, you can only get to a destination if you know from whence you start. You will also discover how each of the above forms a symbiotic relationship to finally convey the dynamic and authentic experience we seek in our dancescape.

In time, this applied knowledge will transform not only how you move, but how you experience movement. It almost goes without saying that it also offers amazing holistic health and healing opportunities, regardless of your starting base.

This course would also benefit more experienced levels, provided you are willing to take that step back to explore new challenges and new possibilities to the exclusion ofprevious experience/expectations. Course starts August 12, 2.15p.m. Classes are small, intimate in a private, purpose built studio. Please contact me via facebook messagehttps://www.facebook.com/elemental.egyptian.dancewith any queries you may have.

the fruit tree yielding fruit whose seed is inside itself’ Sufi saying

A few testimonials from students:.

“Thank you Juliet, once again for bringing the gift of Egyptian dance into my life, and with it all the wonderous shifts in my awareness and my energy flow. Every class is a feast I look forward to experiencing. Learning dance from you has been a revelation. I have always loved to dance. Movement and music always excites me, but you have awoken me to so much more. The connection of dance to my spirit and soul. I cant thank you enough for that”. D.H

“Juliet has transformed my life and way of thinking, in mind, body and spirit. An amazing talent, so knowledgeable on all levels, uniquely special and has saved me from myself and old ways with respect to poor posture and poor exercise regimes after many injuries in the gym with instructors who have little training and little care. Juliet has helped me overcome old injuries and is completely passionate and graceful in her instructions. In Juliet?s gorgeous studio she has the ability to transcend time and take you to a beautiful place and you leave feeling reborn! Thank you Juliet. A truly beautiful lady! NTD x”

Link to more testimonials on the EED website

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THE JAVELIN PRINCIPLE

AUTHENTIC BEGINNINGS

dance4Are you a Conscious Incompetent? Congratulations – you are rarer than you think.    Being aware of your current ’state of play’ is not only the first critical step to improvement, but a sign you possess the capacity to candidly and honestly self-assess – one of the integral components of any skilled and talented dancer…

Frank and honest self -evaluation, combined with a little determination and dedication, could facilitate a step beyond any impatience or discontent.

Perhaps you are not happy with your dancing - not progressing as you would like?   There are many good teachers out in the field, and perhaps you are happy with your current experience, but still feel it reflects a small aspect of your greater inner potential.  Or alternatively, even after years of training, you still only rote through a series of steps without a sense of real connection or understanding of your movement potential and/or authentic Egyptian heritage/movement, all of which are key to enrich and enliven your dance experience.  During this 5 week course we will seek to unite anthenticity and inner flame to ignite your motivation, inspiration and creativity.  This course will suit both those who have very little training and also those who perhaps have been students for a while, but are seeking another route to development.  Be prepared to take those few steps back to go forward with more power and accuracy and you may surprise yourself with the results.  Please message through facebook if you have any further questions. https://www.facebook.com/elemental.egyptian.dance 

Course commences Feb 2.00pm in Brighton 25th Feb –  2 places only are now available –

 

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Crash course in Egyptian cinema: Cinematology episode 1 from Mada Masr

http://www.madamasr.com/sections/culture/crash-course-egyptian-cinema-cinematology-episode-1

Crash course in Egyptian cinema: Cinematology episode 1

Mada Masr has teamed up with YouTube series Cinematology to publish subtitled video essays on appreciation of Egyptian cinema twice a month.

In 2015, young Egyptian mechanical engineer-turned director Mohamed Abu Soliman started publishing short opinionated video essays exploring Egyptian cinema and the filmmakers behind it.

The first episode — on Youssef Chahine’s image composition and camera work — has been watched over 5000 times and opened several conversations on film appreciation on YouTube and Facebook.

“I felt like I needed to create something to remind people how great our cinema is,” Soliman tells Mada Masr, “and that each episode could be a crash course in filmmaking.”

He didn’t originally plan Cinematology as a series, but decided to keep going due to the amount of positive feedback he received. He has published seven video essays so far, and more than 12,000 people follow the Facebook page.

Each video essay is under 10 minutes long and filled with footage from films, quirky energetic narration in Arabic and insights into cinematic technique, filmmakers’ biographies and the historical context of making films in Egypt. Some analyze a specific characteristic of a director’s work, others focus on one film, and some simply use film clips to construct a visual profile of a film industry figure.

Soliman uses the Cinematology Facebook page to share these videos, as well as articles and video essays on filmmaking from all over the world. This content keeps the page active, as he creates the Cinematology videos on his own and each one takes weeks to plan and produce alongside his full-time job as a filmmaker and producer for television.

“It’s a lot of work. But I love cinema. I love these directors and I love analyzing films and sharing this analysis with others,” he says. “You don’t have to go to the Cinema Institute to learn to be a director. That model is outdated – you don’t need it anymore – especially with digital films and the independent filmmaking scene.”

Soliman hopes the Cinematology series will not only help emerging filmmakers, but will also help viewers develop their visual literacy. “Once you understand the grammar of this art form,” he says, “you start to unlock a lot of messages, and hidden meanings.”

With translator Amira Elmasry, Mada Masr is creating English subtitles for Cinematology episodes and republishing them every other Wednesday, starting with the first, below.

https://www.youtube.com/watch?v=ZeJ5p0WuAEg

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