Mario Kirlis 2010 Asia Tour - Taiwan

Mario Kirlis 2010 Asia Tour - Taiwan

Date: April 27 - May 3, 2010

Location: Kaohsiung, Taichung, Taipei

Sponsor: Magic Wonderland Arabe and Bellydance Company

Workshops & Shows-

Internal Training Only-

Kaohsiung: April 28, 2010

Taipei: April 29, 2010

Open to public-

Taichung: May 1, 2010

Venue: The Soul

Two Workshops-

10:00-12:30 am 　Drum solo /Shanan V.S Matias
13:30-16:00 am　All new bolero / Antonella V.S Mario Kirlis Group

Live Music Show- 19:00~21:30 am

One Workshop: NT$3,000
Taichung Package: NT$6,800 (2 workshops at Taichung + show)

Show Ticket: NT$1,200/ NT$1,000/ NT$ 800

Taipei: May 2, 2010

Two Workshops-

10:00 -- 12:30 am Beledi -- Antonella V.S Mario Kirlis Group

13:30 --16:00 am 2010 All New oriental -- Snanan V.S Mario Kirlis Group
Venue: Classroom C, B1, New Statium, NTU

Live Music Show - 19:30 am 　

Venue: Auditrum of Mingsheng Community Center

One Workshop: NT$3,000
Taipei Package: NT$6,800 (2 workshops at Taipei + show)

Show Ticket: NT$1,200 / NT$1,000 / NT$ 800　

For further inforamtion and enquiry please contact Gina Chen or check http://tw.myblog.yahoo.com/magic.belly

Outline of Suhaila Salimpour Multi-level workshop

6 – 10 APRIL 2010, HONG KONG
(Open to all dancers – beginners to advanced)

For more info & payment, please contact Suzette at
Tel no: 9439 2692 (852)
E-mail: desertmermaids@hotmail.co.uk

Tuesday 6th. 9:am – 12 pm:
Session 1/Warm-up, movement, drills.
Lunch break 12:00 – 2:00pm
Session 2 /2:00 pm – 3:00 pm: Dance Movement
3:00pm- 4:30 pm : choreography El Samer.

Wednesday 7th 9:am – 12:pm:
Session 3/Warm-up, movement, drills.
12:00- 1:30 pm : lunch
Session 4/1:30-2:30 pm dance movement
2:30 - 4:00 choreography.El Samer
Show time: Starting time: 8:30, venue: Hong Kong Academy for Performing Arts. Drama Theatre

Thursday 8th: 10:00- 1:00
Session 5/Warm-up, movement, drills.
1:00-2:30 Lunch
Session 6/2:30-3:30 pm dance movement.
3:30-5:00pm Jamilla format ( Please bring finger cymbals)

Friday 9th: 9:00 – 12:00
Session 7/Warm-up, movement, drills.
12:00 – 2:00: lunch
Session 8/2:00 – 3:00: dance movement.
3:00 – 4:30: choreography. El Samer

Saturday: 10th 9:00- 12:00pm
Session 9/Warm-up, drills, choreography overview.
12:00 – 2:00 lunch

2:00 – 4:00: testing.

Suhaila is coming to Hong Kong next April

SUHAILA MULTI-LEVEL WEEKLONG WORKSHOP
6 – 10 APRIL 2009, HONG KONG
(Open to all dancers – beginners to advanced)

TIME
9:00 am to 4:30 pm (Tues – Fri)
9:00 am to 12:00 noon (Sat)
2:00 pm to 4:30 pm (Sat – Level 1 Test)
Venue: Danzstage room 1-2 20th floor 148 Electric road Tin Hau

PRICE (does NOT include testing)
Suzette’s regular students and overseas based students
– HK$8,880 (early bird if paid before 5th Mar 2010)
– HK$10,500 (if paid after 5th Mar 2010)

Others
- HK$10,500 (early bird if paid before 5th Mar 2010)
- HK$12,000 (if paid after 5th Mar 2010)

Per day
- HK$2,500 for Suzette’s regular and overseas based students
- HK$3,000 for others

Per session (morning or afternoon)
- HK$1,250 for Suzette’s regular and overseas based students
- HK$1,500 for others

WORKSHOP DESCRIPTION
Suhaila multi level workshop
Overview of Suhaila’s unique format and terminology
Morning – Technical Drills, Afternoons - Choreography
*Compulsory use of Finger Cymbals*

PERFORMANCE BY SUHAILA & INTERNATIONAL DANCERS - Friday evening, 9 April 2010 (Price & Venue – TBC)


For Enquiry:


SUZETTE ACKERMANN
For more info & payment, please contact Suzette at
Tel no: 9439 2692 (852)E-mail: desertmermaids@hotmail.co.uk

2010 Suhaila Taipei CEC Workshop Welcome All!

Date: March 26 – 28, 2010
Location: Taipei, TBA
With the success of the first Suhaila Salimpour Level 1 Certificate workshop in Asian region in April 2009, we are very pleased to announce Suhaila Taipei CEC Workshop to be held in next March.

The global well-renown Suhaila Technique provides dancers great knowledge and precise training to further develop to better dancers. In order to catch up with updated trainings as well as to maintain certification qualification, Suhaila requires dancers with SSBD or JSBD certificates obtain certain CEC credit to maintain their qualification.

CEC is also a good way to experience the SSBD format: it is like a sampler to experiment with each class under SSSBD system. In this CEC workshop, dancers or students will access SSBD techniques(from tune-up of level 1, bridge of Level 1,5 and Level 2), and other supplementary classes such as Dance Movement and Folkloric Fusion. They also have chance to experience the legendary Jamila Salimpour format, which is very influential to the funding of Tribal Bellydance. The total hours of this CEC are 15 and students could sign up all of them or individually depending on their personal needs.

For this CEC Workshop, Suhaila assigns Sabriye Tekbilek (SSBD Level 4 and JSBD Level 3 certificated) to teach all 6 classes. It is good to learn from others who already have great experiences at this system since they could better understand the challenge and difficulty new students might face.

For further information about Suhaila Salimpour Technique and her workshops, please check http://www.therealsuhaila.com/. For further enquiry regarding the workshops, please contact Jane Chung at jane_dancediva@yahoo.com.tw

How's Bellydance at Taiwan Part VI - Just Give Me Choreography & Nothing Else!

Learning choreography without thinking is dangerous. You don’t get the chance to really review yourself and further develop your own style. Perhaps for those choreography-only dancers, one’s own style is not what they want.

With such strong demand of choreography, bringing back from other masters overseas is not enough. DVD becomes another major source for choreography, and now it is Youtube. Nevertheless, visual imitation is easy and knowing the kinetic operation is another. It would take people away from the real dance and what we have is such boring and unlike duplication.

Some local instructors also do their own choreography pieces, or what they think that is THE CHOREOGRAPHY. Choreography is a very professional art and requires certain experiences and talent. As Suhaila said in her workshop at Taipei this April, choreographers often have different way to listen to the music and observe this world than others. That’s why we have very few outstanding choreographers and a great deal of excellent dancers out there. Many just cannot tell the difference between combos/drills and true choreography.

Still another issue from the heavily-choreography-oriented phenomenon is that people have strange idea toward improvisation. I was told by one teacher at class that improvisation is all about dancing without preparation and thinking. You put a piece of song for show and you just dance to it.

People like me who don’t really get into choreography things naturally go for improvisation dancing like ATS. It provides me great freedom and helps me get rid of the fear that I might not remember the choreography correctly that if I dance with my friends on stage, I might make myself looks like a fool. I felt a sense of security not to dance someone else’s choreography. However, once you begin to learn how to improvisation, you realize there is more to learn in advanced so you have capacity to do improvisation.

As my dear mentor Carolena Nericcio once said, a really great improvisation should be like choreography while the perfect choreography should look like improvisation. Now when I have chance to learn choreography, I will focus on how those movements are put together in order to response the music, or how floor pattern is set to present fluid musicality. I found out that I have more to learn through a choreography piece now rather than just to force myself memorizing everything movements and steps in this piece. It becomes more instructional and yet, more fun.

Recently I had chance to dance Suhaila’s choreography with my dance friends in another dancer’s party. For the first time, I realize that in addition to body movements, transitions, and stage presence, there is something more for dancing a choreography piece – the emotion or something like that. Perfectly executing all movements in a dance is great and to really give self-expression through this choreography is something else, a much better reward.