To: Canada Council for the Arts

From: Gail (Rahma) Haddad: Report on travel to Australia and Hong Kong


My trip was divided into 3 distinctly separate parts. Each was equally successful and profound on my spirit as an artist. I found on all legs of the journey, a level of respect and kinship, and a joyful sharing of dance and art, which, if it exists around me here, I have not sufficiently tapped into.

South Australia: April 12- May 3, 2006

I stayed with Evelyn Roth of Festival Arts for 3 weeks. The first 10 days were dedicated to preparation and rehearsal for the collaborative show ‘A Night of Volcanic Passion’, (under the umbrella project of ‘Behind Closed Eyes’) to be performed in the Singing Gallery in McLaren Vale, April 23. I attended modern dance classes with Sharon Kimber, and met with the other artists involved, Evelyn, Sharon and her dancers from her Blue Door studio in Willunga; Susan Brame, performance artist from the Adelaide Hills; Jhabel, bellydancer of Port Willunga and Mara Craig of Maslins Beach.

The underlying theme of the show, the thriving for renewal beneath all things repressed, was established by a large projection of Egyptian- Canadian actor Mina E. Mina’s mournful recitation of the introduction of the book ‘Swallows of Kabul” (Yasmina Khadra a.k.a.Mohammed Moulesselhoul), filmed in Vancouver by Ray Fuse. The passage tells of the natural desolation and human neglect of the Afghan Desert, ending with a statement of hope that it will bloom again. In my first dance, ‘Desert Dance’, I came from a shroud in the gloom into light revealing color and joy. Rather than describe the whole show, I have included a copy of the program. The audience was led outside at half time to a large inflatable volcano made by Evelyn Roth. Listening to the sound of chants led by Susan coming from that volcano was truly an elevating experience!

It was most interesting to see how we could bring together artists from different disciplines and different continents to work around a theme and, in a short time, pull together a unique and powerful presentation which received accolades from many who attended It was an excellent exercise in integrating Middle Eastern Dance, specifically bellydance into a larger performance art concept. I hope to build on this in the future.

Joya of the GO Bellydance Studio in Morphet Vale sponsored me in 2 evenings of teaching. Although she is a dedicated teacher, I found that the students designated ‘intermediate’ were far below the level I was expecting and had to tailor my prepared workshop on music interpretation to their level. The beginner choreography the following day was very level-appropriate and everyone learned and had a good time.

Sydney Middle Eastern Dance Festival- May 4-9, 2006

Although the festival actually ran May 5th to 8th, but I went a day early to find my way around and contact organizer Leonie Sukan. I found her on her computer in her studio appearing calm, cool and collected and welcoming me with open arms. I knew right then I had much to learn from this woman!! What ensued from that moment until I left Sydney was one of the most inspiring and enjoyable dance experiences I have had in many years.

The very professional, entertaining Fri. evening concert at the funky Enmore Theater was comprised of soloists and troupes from all over the country to whom, several months before, Leonie had given choreographic assignments (roles to play) as part of a story. Other than a patchwork tech rehearsal, the show had never been rehearsed as a unit, yet it ran without a hitch, the choreography and costumes all blending perfectly into the slightly narrated story! Leonie’s good sense of the talents and styles of the numerous dancers in that very large country certainly played a role in making it all work.

The sold out Sat. evening ‘Bellywood Boogie Ball’ at the ‘Grand Barclay’ banquet hall was my assigned venue at which to perform. Since it was a dance floor and not a stage, I decided to do what I do best- improvise. And just to keep things on edge (which I love), I decided to dance to the two-piece Turkish band that I had never heard before. And, like many bands, they didn’t play what we agreed on. Consequently, the whole performance was a smashing success! (The highlight of the evening was an impromptu performance by fabulous drummer, Ghassan, and long-time dancer, Elenie. A light-hearted competition developed between them, which was both masterful and entertaining.)

The wealth of talent and experience pulled together at the festival from mainly Australia and New Zealand was fairly astonishing. The workshops took place at the multi-venued Addison Rd. Community Center, with 3 or 4 running simultaneously. I managed to take 3 informative and inspiring workshops by some of Australia’s most renowned teachers.

As a visiting teacher, my workshop on music interpretation was sold out, approx. 50 people. It was billed as appropriate for “experienced to advanced” dancers, but about 1/3 of the dancers were not at the level of the workshop. When I offer similar workshops in future, I will try to have an optional plan or make sure that the students are at a sufficient level. I would prefer a smaller workshop of level- appropriate people.

Also as a visiting artist, I was interviewed by ’Bellydance Oasis’ magazine published in Perth; and by renowned teacher ‘Belyssa’, for her research. She was so interesting and knowledgeable that I did an equal amount of interviewing her!

The Mon. teachers’ forum at which I was supposed to give a casual talk ended up a questions/answer session, which was better because it addressed everyone’s curiosity, mine included. Many teachers in Australia have their own studios, a luxury prohibited by cost in Vancouver. They also charge considerably more for classes and are paid a little more in public institutions and for performances. One of the big differences is that dancer/teachers are all required to have insurance.

Hong Kong - May 10-13

The workshops took place at ‘Oasis’ studio in Wan Chai, run by Mey Jen Tillyer of Mey Jen Productions. The Thurs. afternoon workshop on music interpretation was attended by 15 dancers who were all experienced enough to benefit entirely from my teaching (finally!). It is interesting to see the different concepts of what skill level constitutes an intermediate or advanced student. I guess my standards are higher than many. The Fri. workshop for beginners was again my choreography, which was very successful.

I would like to thank the Canada Council for helping me to share my vast experience and gain from that of other dancers in my discipline in the farthest corners of the world! I feel renewed by the experience.