FIGYELEM!

Az alábbi tanfolyam indul megfelelő létszám esetén:

 „HASTÁNC”

Az orientális táncot kortól és testalkattól függetlenül bárki elsajátíthatja. Előnye, hogy gerinc- és ízületbarát módon az egyes testrészeket fokozatosan tudatosítva, izolált testhasználatra törekszünk. Jó hatással van az egészségre, átmozgatja az egész testet, stressz-mentesít, a test-lélek-szellem balansza. Találd meg Te is a benned rejlő igazi NŐ-t! Nem vagy elégedett a külsőddel? Nem tudsz lefogyni, vagy éppen túl sovány vagy? Attól még hidd el, lehetsz csinos és vonzó… csak vedd észre – ebben is segít a tánc. Mindamellett, hogy az alakod is átformálódik, a lelked is pozitív változásokon fog keresztül menni. A tánc terápiás hatása évezredek óta ismert, valamint az önmagunkhoz vezető út és nőiességünk kiteljesedésének egyik lehető legjobb eszköze. 

KEZDŐ / ÚJRAKEZDŐ: 2012. október 16-án

- keddenként 18.30h: VIKTÓRIA TÁNCSTÚDIÓ -

(A Duna Plázával szemben) 1138 Budapest, Váci út 161. II/9., Kapucsengő: 9.

 Előzetes bejelentkezés szükséges!

Bővebb információ: Tel: 20/9975-426, mira.dk@gmail.com

HASTÁNC - miért jó ez neked?

- hogy felszabadultan, elvárások nélkül figyelhess magadra, a testedre, a mozdulatok tökéletes kivitelezésére

- hogy a táncmozdulatok segíthessenek  nőiesen használni a testedet a térben - időben és megérezhesd, mikor kell a dinamizmus és mikor a lágyság

- hogy kihasználhasd a női test adta lágy ívek esztétikumát akkor is, ha nem rendelkezel tökéletes alakkal, és ezzel együtt elfogadod, sőt jól érzed magad

- szakképzett oktatóval sajátíthatod el az eredendő nőiesség táncát, hiszen itt nem csak szemléltetve van a mozdulatsor, hanem gondosan elmagyarázva, begyakoroltatva is, valamint egyénenként ellenőrizve.

A táncban és a sportban is központi szereppel rendelkező medence-csípő-has-comb mozdulatainak tudatosítása egyéni odafigyelést, javítást  igényel.

Miért szükséges javítani a hibás mozdulatokat?

Az oktatói hatékonysághoz és felelősséghez hozzátartozik a javítás, ellenőrzés, mert a hibás ízületi pozíciókkal kivitelezett ismételt mozdulatok kopásokat, sérüléseket okoznak.

Miért fejlesztjük a testtudatot?

Az izomkontroll, a  testtudat  fokozatos fejlesztése garantálja a szép íveken, pályákon történő esztétikus táncot.

Felszerelés: kényelmes top és nadrág, zokni vagy tornapapucs, csípőre köthető sál vagy kendő.

Az órák 60 percesek - melyhez folyamatosan lehet csatlakozni.

Ár: óradíj: 1200 Ft/fő, vagy bérlet: 4500 Ft/4 alkalom, 11000 Ft/10 alkalom.

Szeretettel várlak,

Mira

Dobos Krisztina Mirjam

www.mirahastanc.com

Dandash - mint: Samia Gamal, Tahia Karioka, Dina, Suher Zaki, Nagwa Fuad, ,Fifi Abdou, .Farfash, és Dandash

Saba and Rola - napjainkban

és 1970-ben így énekelte Sabah a Yana Yana dalt

This clip is from the 1956 movie Nedaa Al Hob (The Call of Love) The song she is dancing to is called Zahret el Rabe3 (The Rose of Spring)

from the 1953 Egyptian film Khataf Merati (My Wife's Kidnapping) In this clip Sabah and Anwar Wagdi play the role of a couple who are practically strangers to each other but who's marriage has been arranged for them by their respective families in an attempt to merge their two family fortunes together. This is why they both look so uncomfortable on their wedding day and they exchange terse words with each other. It was customary in Egypt in past times, when the wedding reception was held in the home, for the dancer to lead the newlyweds up to their bedroom as she danced, as is seen in this clip. Today this is no longer done. The dancer is Soraya Salem a lovely golden era dancer who appeared in more than 17 films.

From the 1954 film Khataf Merati (My wife's kidnapping) starring Anwar Wagdi and Sabah in the role of a couple who are to be married in spite of the fact that they barely know each other. Their families have arranged the marriage for them and both bride and groom are extremely wary and reluctant about the whole thing. In this scene Anwar Wagdi has gone to a bar to have some drinks on the night before his wedding. He is feeling miserable and wants to enjoy his last night of bachelorhood in a bar.
The dancer in this clip is Naemet Mokhtar. She was born in Alexandria to a wealthy family and was an only child who grew up in more than comfortable surroundings. Her mother was a woman who loved music and who had many artist friends. However, the relationship between Naemet Mokhtar's mother and father was very conflictive and when the fights became intolerable the mother left her husband and escaped taking Naemet with her. Eventually mother and daughter went to live in El Mansoura with a good friend of the mother's who happened to be a well known artist named Oum Zaitoun. It was from Oum Zaitoun that Naemet Mokhtar learned to sing. Later, they went to live in Port Said with another friend of her mother's named Nabaweya Salem. Nabaweya had no daughters of her own and she grew to love Naemet as a daughter. Nabaweya also had a dance troupe who was regularly hired to dance for high class celebrations. She would often take the young Naemet with her to these parties and Naemet would sing. Eventually the mother returned to Alexandria, leaving Naemet with Nabaweya Salem who cared for her as if she were her own child and put her through school where she excelled in singing and dancing. Her mother later returned for her and took her to Cairo where she rented an apartment from a very well known Almeé named Zouba el Keloubatiya, a Mohamed Ali Street dancer who was famous for dancing with a keloub on her head ( sort of like a lantern) hence the name Keloubatiya. On one occasion another neighbor who happened to be a musician took the young Naemet to a party where he had been hired to play and where she sang and recited. One of the guests at the party happened to be a film director who was so impressed that he introduced her to the director of Na7as Studios (Where Naima Akef was under contract making a movie) and they hired Naemet to be in the movie with Naima Akef. However, even after the success of this film (Fataat al Sirk) Naemet and her mother still had difficulty making ends meet. Until one day a well to do man came to their apartment building searching for a dancer for his wedding. Since all the dancers were already booked, they asked Naemet if she would do it. She rented a costume and took the job. At the wedding one of the guests was the agent of singer Karem Mahmoud, he was so impressed with her that he immediately put her under contract as a background dancer for Karem Mahmoud, She later joined Na3ma Abdo´s dance troupe where she soon became the main dancer. During this time she met Farid el Atrash who would hire her regularly to dance at his parties while he played Oud. Oum Kulthoum was a great fan of Naemet Mokhtar and enjoyed her dancing so much that she would regularly invite her to her parties to dance. She even nicknamed her "Symphoniet el Raqs el Sharqi" (The bellydance Symphony) Naemet Mokhtar said in later interviews "I never felt guilty about working as a dancer.People think that success comes easy, but the fact is that I worked hard to be a successful dancer at a time when the field was full of dance stars" Naemet Mokhtar married three times and had one son. She produced several films well into the 70's after which she retired. She repeatedly refused offers to teach dance after her retirement.

This clip is from the 1972 color film El Sheitan Wi el Kharif (The Devil and the Autumn) It was one of Samia Gamal's last movies if not the last, as it was released in August of 1972. In the film credits it says that this was her return to films after a long absence. She co-stars in it with her then husband Rushdie Abaza, who in this film plays the part of her lover. The beggining of this scene has Rushdie Abaza sitting in a jail cell reminisicing and remembering her as she danced. Her dance begins at about 1:00

This clip is from the 1949 film Set Al Beit (Lady of the House) Starring Faten Hamama and Emad Hamdi. Faten Hamama was the real-life wife of actor Omar Sherif and the only woman he was ever married to. This film is about a newly married couple who goes to live with the husband's domineering mother. Many clashes occur between the mother and the daughter in law because the mother in law is difficult and controlling. In this scene, the husband is fed up with the constant fighting between his wife and his mother so he has gone to a nightclub to escape them and to have a drink. The singer here is Abd El Aziz Mahmoud. The dancer is a very young Naima Akef. She only has two dance numbers in this film but no acting parts. Abd El Aziz Mahmoud does not have an acting part in the film either, he appears only as a singer. Abd El Aziz Mahmoud was a well known Sha3abi singer in the 40's and 50's and in fact in the credits of this 1949 film they list him as "The Sha3abi Singer Abd El Aziz Mahmoud". Proving that sha3abi is neither a new (post 60's) term for music nor a new genre of music.

This is from the 1950 film Yasmin. Egyptian star Fairouz plays the role of an orphaned girl who teams up with a struggling musician (played by Anwar Wagdy) and they perform together. In this clip Fairouz demonstrates how gifted she was in many styles of dance, and does some very impressive performances including tap, ballet, tango, rumba and an outstanding raqs sharqi performance at the end.