As printed in the Quarter 2/2005 Issue of The Belly Dancer Magazine
Dancer to Dancer – Saqra
As Interviewed by Oberon
It is my pleasure to introduce you to “Saqra” - our Cover Dancer for this issue. I have known this vivacious little dynamo for nearly the entire time I have lived in the Pacific Northwest (16 years now). I had the priviledge of working with her in “Chandi” a troupe directed by Halima, our coach and mentor. There was lots of hard work and loads of giggles. It has never been boring, always been exciting and I wouldn’t change a minute of the experience of knowing her and calling her friend for anything.
She is one of the few that I still allow to kid me about not being able to talk, dance and play zils. That’s right - - now you all know, but only a few can “give me a hard time about it”. Sandwiched between her and Nadivah in troupe practice, both of them playing like mad women, me playing and dancing - - and the two of them saying, “Come on Zaina, just say one word, come on, ONE word”. And Halima, sitting in the corner egging them both on. I didn’t stand a chance. That one word always cost me a stumble in the choreography <grin>. What was the word? @%#* But the memories are fond and will always be cherished.
She will grace the Rakkasah stage this year not only in solo performance but as well with her new band “Saqra's Mediterranean Raqsband” (as I said, little ball of fire) and with a new CD out, I can hardly wait to see and hear them. If she has tackled this endeavor with the same vivasity as the rest of her life, (and I have no doubt that she has) then we are in for a real treat. I give you “Saqra”.
Saqra’s Bio/Resume
Saqra is the Producer of Saqra's annual "Showcase" Belly Dance Festival now in its 14th year. This is the largest indoor belly dance festival in the Pacific Northwest featuring over 275 dancers in 2003. Saqra is also producing other events including a third Seattle area retreat with Morocco of NY in 2004.
Saqra is a master instructor whose video series is often used by other instructors to enhance their teaching techniques. Her clear method of breakdown and explanation and use of layered concepts make her workshops a challenge to all levels and an inspiring experience, without making them impossible for the newer dancer!
Saqra’s previous ME Dance publication experience: Asst. Editor, Jareeda Magazine; Staff writer, Jareeda Magazine; Editor, MED&CA publication.
General class teaching references (workshop references below): Oxford Athletic Club, Clark College, Saqra's Studio (bet you could have guessed that, eh?). She has also taught for the Vancouver School of Arts and Academics & Cascade Kids Educational Supplies in Portland, OR.
Saqra also has performed in numerous, numerous, numerous clubs and restaurants, including Kolbeh's in Portland, OR, Kolbeh's in Seattle, The Grape Leaf in San Francisco, Marrakesh Moroccan Restaurant in Portland, and as house dancer for over three years at the Petra House Jordanian Restaurant in Portland, OR. Plus a weird week-long stint a while back at a Cajun restaurant in L.A. for Mardi Gras.
She has danced with an insane number of live bands, including Brothers of the Baladi, Desert Wind, Turku, Zurefa Kol, Americanistan, Coral Rose, Jazayer, Bilezikjian, Light Rain, Arabesque, Hejira, Ek Baalam, MB Orchestra, Arabic Melodies, Mirage, Domba!, and so many more she is coming to a screeching halt just trying to list them.
Saqra was introduced to Middle Eastern dance at 14. Since then she has won many national and international competitions (including Reno's "Entertainer of the Year", San Francisco's "Desert Rose", Portland's MED&CA "Professional of the Year" plus placed in Belly Dancer of the Universe (L.A), the Southern California International Belly Dance Competition (L.A), Belly Dancer of the Year twice (S.F.), Jareeda's Belly Dancer USA and a bunch more) and has instructed throughout the United States, in Canada, and Japan. Additionally, Saqra was given the tremendous honor of being asked to teach at the Rakkasah festival (the largest belly dance festival in the United States) in 2004.
The Interview
Wow! This dance has introduced me to some "fire-cracker" personalities, pretty and cuddly on the outside, they are a teeming treasury of complex layers, deep and rich with intensity.
Mensa members are reputed to see the world with a different paradigm. I was treated to that different view one year at Rakassah and my mouth is still sore with laughter from the evocative narration this teacher / dancer / musician embarked upon. Always engaged, never boring, and possessing a daring candor, an expressive soul and with more than her share of interests and talents to "act out" with…..dare to enter and share a different paradigm with Saqra.
O. So how does a "brainiac" choose the world of "Belly-Dance"?
S. Simply. My buddy Lisa's Mom, was in a troupe in Seattle … I found it just amazing so Lisa taught me…she had never had a lesson. I was awful, and stayed awful for years! When you're starting out you don't really know that you're getting bad instruction.
O. How did you improve?
S. I started to l collect books by people like Veda Sereem, Serena from New York , Dahlena ' s book... anything I could find. I also had stuff like Ozel Turkebas' record album inserts. I took a workshop in Spokane and was terrified by my own lack of knowledge. There were no videos then, so I tried to see every dancer I could, at restaurants, fairs etc. and eventually when I got out of college, I actually did get about six months of instruction from an actual live teacher.
O. So, who do you credit with the roots of your dance ?
S. My primary influence was Halima. She really knows her stuff! I hadn't studied with anybody in particular and she was a heck of a coach! She also got me involved with Jareeda magazine where I was assistant editor for 2 or 3 years. Halima and Nadivah produced a lot of workshops and I met a lot of amazing people. It put me on the "kitchen " side of the dance. You often learn more casually in the kitchen after a workshop than you do in the workshop offered! I had workshops with absolutely everybody.
O. So you began to perform?
S. Oh I began to perform before I knew "from shinola . " I had performed a little in college - I was awful. After college I ended up working for a kind of "skanky" woman who began to place me in venues where I replaced paid, professional dancers…for free. She did that with all her promising students and we just didn't know any better. She did give me with a few good "rules of thumb" though: A) Pretty much any press is good press, B) If someone is talking mean about you then you are probably doing something right. If they aren't talking about you you are not having any impact. And oftentimes when someone is mean they may well be jealous.
O. So is all criticism of the dance based in jealousy?
S. Hmmm…no, but there are a lot of dancers with one year of experience eager to pass opinion on seasoned professional dancers. Perhaps they should have some history with the dance and some background on the dancer before they jump.
O. I admit to knowing and being fascinated by your membership in Mensa - how has this kind of intelligence shaped your dance?
S. It's ironic isn't it, that I have a sister who is mentally handicapped, but I am a member of Mensa! Actually, all my life I had rather thought myself stupid. An average "B" student without trying, I actually really hated school. Got through college with not great grades. I tried out for Mensa because I saw the test in Reader's Digest and had the desire to put something on my resume that counterbalanced my grades. How does it help my dance - by giving me some original perspectives on problem solving.
O. Was this why you also chose to be involved in the business end of our dance?
S. I went into the business part of dance as soon as I saw that I could. It is the same reason that I started to perform and the same reason that I now play music. ... I figured out I could. 
O. So the stopping point would be your perception of what you can't do.
S. And I believe there is nothing within reason that I can't do. I run regular monthly dance events, I've put on "big" events with imported dancers, produce a massive yearly festival, run an annual, week long retreat where I cooked all the food in advance, play music, teach workshops, vend, have owned a store, hand-mastered a C.D., put out a series on DVD, assistant edited Jareeda, choreographed, made my own costumes--you just have to take the time to figure out what you need to do.
O. Phew…you are definitely one of the driven!
S. You know, I was once told that I would never again dance in my own community. It made me loose my temper. I react to situations like that by doing my very best to be as screamingly successful as possible. Yes, I guess I am driven.
O. All this and you teach regular and private classes also.
S. Yes, and though this is my day job, I try to keep my regular class rates cheap…because I feel that women are not good about spending money on themselves. I started vending because if they didn't have a lot of money I still wanted them to come and learn about the dance. If they did have extra money, I figured they would spend it on "Stuff". It's truly not about the money, it really is the fact that I want women to feel comfortable coming and enjoying all the physical and mental health aspects of the dance.
O. What aspects do you like or don't like to see in a dancer?
S. I watch so many people in this art taking themselves so seriously. It is just part of who I am to say, " leave the ego at home." I enjoy a dancer with a high skill level and a strong personality. I do get tired watching party trick after party trick.
O. You used to dance with a snake didn't you?
S. Yes, because I felt I was just another dancer, and I figured you get noticed with a seven foot boa wrapped around you. I stopped because I felt like I became an animal act…I could never just dance; people were waiting for me to bring out the snake. Plus they are sweet, but a little undependable as partners... I had one unhook my bra... another one got hold of the back of my skirt and was waving it around over my head behind me....
O. So now you would describe your dance styling as…?
S. Some people who I consider friends would still say I can't dance my way out of a paper bag. (Wry laugh) It actually depends on what the music is, but generally I guess I would describe my style as leaning towards Turkish, Syrian, Lebanese and maybe old-style Egyptian. American blend unless the music calls for something specific.
O. You've recently been to Egypt. Did you have any impressions?
S. Egypt was just as I imagined it would be. I truly don't think people always anticipate it accurately. I expected poverty, pollution and I got it in spades. It was fine, but things were definitely unsettled at the time and we were escorted everywhere by armed guards.
O. And you taught in Japan?
S. Japan I enjoyed immensely because it was so different, so very foreign. Egypt was less foreign feeling than Japan. I learned that no matter where I went in the future it really didn't matter that I didn't speak the language. My class consisted of about 25% Japanese students, the rest were English speaking foreigners, delighted that an English speaking teacher was there. I also learned not to try the toilets (in the floor) while wearing a full skirt.
I was treated wonderfully - the best theatre I've ever danced in - the best rooms I've ever taught in - and we had accommodations in Tokyo with a fabulous view from the 14th floor. ... of course that did follow staying in a really bizarre what was probably a love hotel in Kobe. Kobe is the center for pearls and the biggest "man-made shoe " center in the world. ... I'm not a big shoe person, but I could have become one had I continued to stay there! I loved the bullet train and the shopping. Visited shrines and historical stuff. I really enjoyed it.
O. O.K. I think people are surprised by "Saqra, the musician". You have a band, Mediterranean RaqsBand, and have just released your first C.D, Music Saqra Likes Vol 1.
S. I started playing piano at 4 years old. I got very involved with the dance end of things and gave music up for a long time until recently . I play piano /keyboards, and used to play the violin, the trumpet, French horn, Classical and electric guitar…and camping guitar…it's a field all of it's own you know (I'm kidding kind of). I've also written and arranged for choirs and orchestra and I do sing but it terrifies me to sing in public . The C.D. though, is so "me." I pick out all the songs for the band and everything is something I personally like at a tempo I like. The wrapper is loaded with our rather wacky sense of humor... lots of puzzles and in jokes study well… there is a lot of weird stuff in there. (Example: WDS productions - as in "We Don't Suck" - we are a bunch of perfectionists and had to spend a lot of time reassuring each other after shows in the beginning) . We really did put this together specifically with dancers and drummers in mind; we hope you'll thoroughly enjoy it. It's a project of our hearts.
O. And you're teaching at Rakassah.
S. Yes, I taught at both West and East last year and I'm back at West this year. Actually I also volunteer there, usually as a Stage Manager or Announcer. I got involved as a volunteer at Rakassah because it is easier for me to be at an event if I'm helping out, and they are really a great bunch of people to work with. I have a festival myself so working at that kind of event is second nature to me. I am extremely thrilled to have been tapped to also teach there ... my fantasy had been an engraved staff badge!
O. A long way to come from a woman who admits that we share a secret in common, stage fright . 
S. I am still really terrified of playing music in public, but it is getting better. I started out terrified to perform dance, too, but I designed a program to get myself over it. I eventually packaged it for other dancers. My Stage Confidence Program is really close to my heart. People using the C.D. and stuff have written me amazing heart-felt letters. I know it works and that makes me feel really good to be able to help.
O. O.K. Saqra - you promised me the scoop and a project that is coming to fruition now, I'm dying to know the direction your future is taking…..give it up, give it up.
S. (Hesitating), I have been putting long sleepless hours and energy into this one, so please just hear me out without judging first , this is so important to me and I know it is a hot potato. I have developed an e-learning certification system for people who are starting to teach Oriental Dance . We are in beta testing as we discuss this. ODEST - Oriental Dance Education & Safety Training. This project focuses on safety and psychological issues that arise in this dance NOT on the style that the teacher to be uses. There are issues that in particular affect children, pregnant women , obese people, the elderly , that many new wannabe instructors need to know and are having to learn on the job. I have issues with the current trend of new teachers getting their credentials just by copying another teacher's style or getting a rubber stamp approval by someone with a name. This is a certification program with factors like requiring you to also get a first aid/CPR certification from the Red Cross, which every instructor really should have anyway. I have poured a tremendous amount of time and money into up-dating equipment and computer capability in order to be able to bring about a program that ensures students are safe, whatever the style of the instructor. I also want to push the overall education concept, so within the virtual campus is a library available to non-members and we are envisioning articles and history from experts in this field available for reference , plus articles and tips by certified members. And of course a store for member's products. Certification comes through reading and general multiple choice testing on 12 chapters of information, and also obtaining and showing proof of Red Cross certification. Because Red Cross certification is only valid for two years, members will have to return to the site to read a simple review and any new updated material and show proof of updated certificate every two years to be re-certified.
O. And you feel qualified to develop this program because…?
S. I hope 15 years teaching regular classes, 10 years on the workshop circuit, my active participation and visibility in our community and my wide ranging credentials in this dance qualify me to anticipate the needs of such a program. I truly believe it does.
O. How do you think such a project will be received?
S. Oh - I think it may well be pretty unpopular with some folks … just the concept of another certification program is enough to set up some hackles, and I'm sure there are a lot of questions about how someone can learn to teach dance in a virtual situation. in fact I address all this on the first page of the web site in the FAQs. I HOPE that long time instructors step up to the plate and support this because the focus is strictly safety. I'm willing to go through the fire because I hope to stop seeing bouncing stretches, uncontrolled upper body swings, locked knees, bizarre postures, knees not going the same direction as feet - in general, I hope to stop seeing people doing things that are causing long term injury to unsuspecting civilians. This dance really shouldn't hurt people and simple ignorance is the main cause of so much damage..I think most experienced instructors really are aware of this.
O. So members will of course pay a fee to go through this program.
S. Yes, that's true, but not at the level I'm seeing in some other certification programs. And in return they will receive a huge amount of information and education and the confidence of being certified to at least safely teach this dance to a range of differently abled students. They still need to get their stylistic training from their instructor or someone with a special technique or focus they want to teach. But they will then be able to teach that style with well planned classes, an awareness of the psychology of students and most essentially the safety information.
O. So Saqra, if you would give some piece of education to new students and teachers as to how you've achieved success in this dance - what would it be?
S. I watch dancers and videos of dancers, some are local and some are legend, and I take notes and notes and notes, I analyze, I study and work, and I learn as I hope they will, the important message…that you can get old, get fat, loose your knees or your back or your mind and STILL-STILL stop the audience dead in their tracks!
Saqra
www.saqra.net • saqra@saqra.net
253-813-8580
