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Volume 2, 2012

The ISPAHAN Oriental Dance Company is a vibrant and exciting dance group, based in the (south of the) Netherlands. All dancers have a sturdy background: many years of experience in dancing, performing and some even in teaching Oriental dance. More information is available on: For questions, copy or bookings, please contact us via:

-Please note that It is not allowed to copy or use anything from this ISPAHAN Magazine without permission of the editor. So please always contact us first, if you would like to share, show or redirect on Facebook or other (social) media, internet or print. Thank you.-

ISPAHAN Magazine Š 2012 Kashka



Ispahan Magazine, Volume 2, 2012

Behind the Scenes.. The second Ispahan Magazine...! What a thrill to have received so many lovely comments on the previous issue. And we are also very proud of the huge number of readers: we hope you are with us again, today! We are equally exhited to be able to present this new issue to you. We hope that you will love it just as much.., or maybe even more..?! Text & Photographs by Kashka

The theme for this issue is ‘Behind the Scenes’: all kinds of things we normally do not show our audience! Our cover picture and collage pictures on the opposite page, are all made behind the scenes of festivals we performed at last year. For fellow dancers this will all look very familiar, yes?!

food, fruit and drinks, someone to show you around.. it certainly has more than improved over the last couple of years! Also the venues themselves, stage and seats, the presentation of the show, music and lights.. all very professionally done and we feel like superstars most of the time!

The tension, the nerves, but also the exhitement to be part of a show and to be able to do what we love best, it all shows. We take every single performance very seriously.. finding our way in the building (often new to us), checking out the stage, warming up, rehearsing the dance(s) one more time, getting dressed and otherwise ‘glammed up’.. it all is part of our ‘PPR’, or: performance preparation ritual! Being part of a group makes it even more fun and a lot less scary, to be honest.. We usually do some carpooling, have dinner together afterwards and.. we have a special Ispahan Yell!

There is, however, one more thing that could be improved and that is attracting a more diverse audience. Not that we are complaining about the current one, oh no..!

We have been pleasently surprised by how well organised these festivals are these days.. actual dressing rooms, with good-sized mirrors,

But most of the time, the audience consists of friends and family members of the dancers.. We would love to welcome a broad range of people to these shows. We hope that making this magazine will help to achieve that. And again, please tell us how you feel, you are invited to comment, supply subjects or blog away! Simply send your copy to our mailbox. We would love to hear from you! With Love, Kashka



selling a costume?

or a service?

Very reasonable prices! Please e-mail for more information.

Organising a hafla?

04 08

PR for your shop?


Special Ispahan Magazine Deal!!

02 05

Who’s Who? This is our team:




Oriental Dancer

Oriental Dancer



Oriental Dancer & Teacher

Oriental Dancer

Oriental Dancer & Yoga Teacher



Aveyanda Skye



Oriental Dancer

Oriental Dancer & Editor

Oriental Dancer

Photographer, Make-up artist & Translator

Oriental Dancer

& Shahrazad


Oriental, East Indian and Nepalese Dancer & Teacher, Yoga Teacher, Artist, Philosopher, Role Model & Ultimate Woman

Dance.. An activity that requires an intense and modified conscience, to reach the Rio Abajo Rio*: the river under the river. Even when dancing is prohibited, women dance.. in the forest, in the basement of their homes, taking out the trash.. Even when cultures where destroyed, artist where killed, women kept on dancing. If you dance, you’re part of an ancient tradition.

Dance..!! * Women who run with the wolves/ C. Pinkola EstĂŠs



TABLE of Contents Specials: 10 | Costume Design(er)s / in the picture! 12 | Web site Ispahan Why should you visit and what will you find..?!

16 | Ispahan One-on-One With Shahrazad

In Every Issue: 03 | Editor’s letter 06 | Who’s Who? Our team and contributors of this magazine..

09 | Table of Contents 14 | Oriental Recipes

26 | Linda: this is me!

22 | At the Venue..!

34 | Warming up with Mahin

24 | Highly recommended

38 | Holly McWilliams

60 | What’s so Funny?!

Dancer & painter!

50 | Aveyanda & Vonne the dancer & the photographer

63 | How it works Send us your copy!

Inspiration: 28 | Remember this..? A wonderfull Hafla from the past.. remembered

30 | At the shops.. Glitter Fabric!

36 | Big Events! 37 | Inside your Purse What to bring to a performance?

44 | The Pinokkio Chart/ Myths debunked


Costume by: Kashka Performance: Epilepsy (Timmerfabriek Maastricht/ NL) Kashka: This costume is a very special one.. I started making it over twenty years ago, when I first started learning Oriental dance. I didn’t have the money to buy ‘a real one’ and whitout much preparation or advise, but lots of ideas in my head, I started making my own costume. I used anything that I already had.. so for a base I used the thick linen I used for my paintings.. bad choise.. one I would regret many years on. And then I sewed every paillet onto it, by hand.. What was I thinking!? You can probabely image that I threw it into a corner many times.. And when it was half finished, it even ended up in a trunk, for a couple of years!

But on sheer determination one fine day, just a coulple of years ago, the costume got finished.. Luckely it still fitted..pff! There is lotst of sentimental stuff on it.. a bit from a princess crown I wore when I was a little girl, pieces of my mom’s neckless, real glass from a chandelier my father was restoring at the time and lots more that has a story to it.. It is slightly unconventional, a bit fragile, the headpiece is not very comfortable to wear, it’s heavy, over the top and makes a lot of noise, but I love it. I danced my first ‘ever’ solo in it on very fitting music (Epilepsy by Antony & the Johnsons) and felt quite special.. And there was a little girl in the audience that stared at me the whole time, reminding me of myself.. I think she will be dancing too, one fine day!


Costume Design.. 101


We at , like to design our costumes ourselves, but that is certainly not necessary..! Plenty of designers make stunningly beautiful costumes so you have more than enough to choose from. Names like Eman Zaki, Pharaonics of Egypt and Bella (who are very popular in Western Europe, at the moment) are well known, but there are many more.

We would love to hear your story about how you ‘found’ your favorite costume and why you love it so much!

This is YOUR page! (Not for shop owners or designers, if you have a commercial aim, please look at page 63 for more info on the possibility to show your designs, shop or event!)

Would you like to be on this page and tell your story about a particular costume you own? Then please e-mail us at: and also include at least one picture of you wearing the costume.



The ISPAHAN web site & what you can find there.. *How and why ISPAHAN was founded, how we operate, our vision and our good cause. *Information on our group name, background stories and some cultural information as well. *How to book us (for both private and business parties). *How to join us (if you are an Oriental Dancer) *Our performance scedual (in case you would like to see us dance) and a brief history of past performances. *Videos and lots of pictures of past performances & photoshoots. *A blog, of all our ISPAHAN adventures, updated quite frequently, so you can taste the atmosphere and feel part of our team. *Information on al ISPAHAN dancers, their background, projects & links to their personal pages. *Our ISPAHAN fan store, were revenues go to our good cause. and much, much more..

Please Visit!

Désir d’Ispahan: 1. Bijoux Rose d’Ispahan by Bijoux D’Odalisque. 2. Painting by Pierre Joseph Redouté ‘Rosa Gallica Aurelianensis’ 3. Rose d’Ispahan parfum by Coryse-Salomé, bottle by Cristalleries Brosse

What else is there to discover..?! 4. Auguste Renoir (18411919), Gabrielle à la rose(C) RMN (Musée d'Orsay) 5. poem ‘Ispahan’ by Guillaume Appolinaire (1880 – 1918).

ISPAHAN . “… Ispahan aux musiques du matin Réveille l’odeur des roses de ses jardins J’ai parfumé mon âme À la rose Pour ma vie entière…”

09 13



BAKLAVA Ingredients 250 gram walnuts 250 gram almonds/pistachios (peeled and unsalted) 1 can powder sugar 2 boxes Bastilla puff paste 1 cup melted butter (225 g)

: W O H S ’ E R E H

Defrost the Bastilla (puff paste) sheets (or phyllo dough) and melt the butter at low heat. Finely chop the walnuts, almonds and/or pistachios (in a kitchen blender) and put them in a bowl. Add all of the powder sugar to this mix (you could also add cinnamon instead of the sugar). Grease a Bastilla baking tin with abundant butter, put six Bastilla sheets on the bottem, (pile them up on top of each other) and grease them as well, with some of the melted butter. Then add a layer of the nut-sugar mix on top.

for the sauce: 1 2 1 1

cup white sugar (200g) glasses of water (235 ml) teaspoon mazhar teaspoon lemon juice

1 Bastilla baking tin oven 200° celsius/ 350 F You could also add honey (1/2 cup or 120 ml) and vanulla extract (1 teaspoon or 5 ml) to the sauce and (1 teaspoon or 2 g) ground cinnamon to the nut mix!

Again, place six Bastilla sheets on top of the mix, grease them and add another layer of the nutsugar mix.. repeat this until the ingredients run out. The last (top) layer should be the six sheets of Bastilla puff paste. Remove the puff paste sides and try to cut even squares into the pastry. After this, pour the remaining butter over the Baklava. This can be quite a lot.. and let it absorb for a short period of time. Then pour off the surplus of the butter, if necessary. Finally, bake the Baklava in a pre-heated oven at 200°C (or 350°F) until the pastry is golden, crisp and has risen. Baking time: about 30-50 minutes. While baking, make the sauce: boil the sugar and water until the sugar has melted, then add the vanilla and honey (or Mazhar: orange blossemwater). Let this simmer for about 20 minutes. Spoon the sauce over the Baklava (directly out of the oven) and let it cool down.


Shahrazad ............................................ ............................................

inspiration to many

One-on-one, with:

Shahrazad This is an interview with an icon, a woman who is a shining example to the world in general and to women in particular. I feel very blessed to have met her and to have been able to ask the following questions:

also directed by Fritz Lang, with La Jana as the dancing Maharani in the newly adapted story, is more interesting from a dance point of view, although much less mystical. There are real Indian dancers to be seen, however La Jana's dances are not authentic Indian temple dances but Q: Before 1989, I was more or less ignorant about adaptations for the film industry. Oriental dance, even though I have danced (classical ballet) from age 5 on. It was something ‘The fantastic costumes and her slender body that happened out of my scope (there were no were presented in a very creative and unique widespread personal computers yet and I hadn’t way.’ had the opportunity to travelle outside of Europe). I had never heard of foreign or native Oriental During my search for this old dance I came across Dancers, nor of Martha Graham or Ruth Saint beautiful photographs of Isadora Duncan and Ruth Dennis. I had heard of Mata Hari of course, but Saint Denis and started looking for film material not so much in a dance related manner. What kind on them and other dancers of the same era. Luckily of impression did Western dancers, movie stars I live close to a dance museum here in Cologne, and others in the 20th century, who had a go with where I can go and look at any video they have. Oriental dance styles, make on you and how did you learn about them? Q: These days, I hear al lot about 'true Oriental Dance' or 'authentic Oriental Dance'.. indicating Shahrazad: I guess the very first dancer that really a certain dance form, or dance movements that blew my mind, when I was about 8 years old, was are supposed to be 'original' and are not to be Debra Paget in the film "The Indian Tomb" when interpreted or altered. Personally, I feel that dance she performed what was supposed to be an Indian is art and art should not be about rules..(au temple dance in front of a Goddess statue, ending contraire). And although it is certainly good to her performance in the Goddesses hand. learn as many dance styles as possible and Later, while trying to see this dance again, I found educate yourself, I feel I should also be able to out that this film was the third version, brought out deviate from them as much as I please whiteout in 1957, of a much older story written for a silent this being described as second class or 'wrong'.. movie by Thea von Harbou in 1920. I discovered What is your take on this, also in retrospect to the that the original production of 1921 is totally mystical Western diva's of the 20th century who certainly and fascinating, but has very little dance in it. The did not dance an 'authentic' Oriental dance - and second black and white second version of 1938, in relation to current Oriental dance competitions


or championships, were there seems to be little appreciation for the experiment? Shahrazad: There are a few thing that should not be confused. There is definitely such a thing as authentic dance, meaning that the music, costume and dance style correspond to each other and bear a tradition of several social, cultural and even religious values. If the dancer chooses to dance to a certain music, she must be aware of what the content of that music is and what expectations live in an audience when hearing that music. The second kind of dance is interpretive dancing. Usually there is another, not authentic, kind of music. It may be a mix of "authentic" and new music, the so called fusion, or a new music all together. The latter is the case with the dancers at the beginning of the 19th century. For example the "Syrian Dance" and the "Bacchanal" in oriental style of Anna Pavlova were danced to what we would call European classical music with an Oriental touch, composed specially for those particular dances. Even though that ballet was based on the ancient biblical story of Samson and Delilah, that does yet not make the dances authentically Syrian. In those days there was not such an access to original music (and dance) as nowadays. Even if it were available, people found it too exotic too be able to relate to it and preferred to use music that was more familiar to the Western ear. ‘In the Oriental dance competitions of today the label must cover the content.’ The participants' knowledge about the music, rhythms and styles becomes evident when they dance in front of experienced judges. If some one presents for example an Egyptian cane dance, but uses Lebanese music, wears a Turkish costume and adds some Tribal Fusion Elements, then one cannot speak of authenticity anymore. If it is called a fantasy cane dance there is a bit more freedom. On the other hand the so called Oriental Dance is not a rigid form. It is as lively as a living tree that produces new blossoms each year. Dancers are creative persons. The music changes from decade to decade and so do the costumes styles. There are all kinds of influences that provoke those changes. New fashions abroad, changed political situations and religious laws are some of them. Individual creativity is boundless. The experimental change is sometimes seen as a revolutionary attack on the establishment, sometimes belittled and laughed at as ignorant, and other times seen a the work of a genius, that every one wants to copy.


Shahrazad performing “Haroun el Rashid’s Court Dancer” costume & picture by Silvia Boucké


Q: I started dancing Oriental dance in 1989 and a whole new world opened up to me.. not only Oriental dance, music and dancers 'appeared' before my eyes, but also costume design, stage design and other art forms related to the 'scene' at the time, made it into one big exciting experience. We talked about art, we talked about creating art, about trying new things, about other cultures.. Since I was an art academy student, this appealed to me big time. But lately, I feel a bit lost, to be honest. I can still see it in current Tribal scenes, but where has the magic gone.., where are the original spirits that dare to be different and artistic? Why do dancers pay enormous amounts of money these days, for costumes that are sold of the reck, instead of designing and/or making them themselves? These 'standards' have made it possible for more women to join this scene, I guess, but it feels rather bare to me.. Do you experience this as well and is it a bad thing, an undulation, or just a new generation doing things differently? Shahrazad: The Oriental dance scene in Holland and Europe has grown enormously, from a handful of dancers in the late seventies to tens of thousands now. Not everybody has got the talent, nor the time to make their own design, costume, choreography, etc. Many are happy to find something ready made. The crowd looks for idols they can imitate. But those idols are where you have to look for that spirit of original creativity. ‘Study the stars and you'll discover the immense amount of work behind their dances.’ Without exception they base their choreographies on firm roots and create fresh variations. They know their ABC and can write poetry with it. The same goes for the uniqueness of their costumes. The so called "Tribal" scene has deviated from the Oriental Belly Dance scene and goes its own way, just like modern dance crystallised it self out of Ballet. Tribal Fusion dancers set new goals and have different idols. Some are fabulous! It may not be everybody's thing, but then, what IS everybody's thing? They are global and having fun at it. Q: You are organizing a seminar in oktober of this year, with the title: Retro Revival. Dancers that register for this seminar will learn about women like Ruth Saint Dennis, Greta Garbo, Isadora Duncan, Anna Pavlova and Mata Hari: Western artist that got our Western world reacquainted with the Orient, through Oriental dance (or their take on that, at least) and have had an impact on dance in general, in doing so. What is it that dancers in this century can learn from these women, do you think? And how do you see the future of Oriental dance?


Shahrazad & students in Hof Oberlethe, Syrian Dance

Shahrazad: These famous dancers created something like a bridge with their dances. They connected what used to be divided. Exotic cultures used to be looked upon as inferior and primitive. Artists like these ladies discovered depth and beauty in those very cultures. In trying to interpret exotic dances they slipped for a moment into another skin and identified themselves with a whole set of different values. They brought about the process of rehabilitation of the foreign cultures that had suffered severely from colonial politics. ‘They paved the way for us to continue the discovery of the preciousness of other cultures as a source of inspiration for ourselves.’ Our artistic interpretations of the Orient are already many steps beyond of what was possible at the beginning of the 20th century. Personally I just love the aesthetic combination of Art Deko, Art Nouveau, Jugendstil and dance. The artistic development that had been brutally stopped by World Wars I and II shall continue and flourish again!


We have new possibilities that are unique for this era and the Cosmos creates constantly new art forms and dances through us. I am not able to see the future of the Oriental dance, but I am confident that there will always be fantastic dancers, that will be worth watching and admiring as long as we have peace. We will be touched again and again by the spirit of the Universe expressing it self through the beautiful bodies, hearts and souls, moving, whirling, gliding, sliding, shaking, undulating, stepping, tapping, jumping, smiling, shivering and dancing, dancing, dancing......... Shahrazad. More background information: The Rebirth of the Sacred Dancer by Shahrazad (in: The Best of Habibi)

Web site Shahrazad & information on the Retro Revival Seminar 14 - 21 Oktober 2012, in Hof Oberlethe:

Anna Pavlova - Syrian Dance / photo: National Library of Australia


At the venue..


Here’s my story.. On this page we would like to share stories about gigs, your experiences as a dancer and tips.. For instance: What would your advice be, in case you were asked to perform at a bachelor party and you don’t know the groom-to-be or his party? How do you prepare yourself in case a request comes in from a venue you have never seen before and can’t be found on the internet? Do you go there first, to check it out? What to do at a restaurant, when performing and the guests don’t seem to appreciate you being there? Or even more personal: what does your spouse/boyfriend or family think of you being an Oriental Dancer? Please share!


Highly recommended... "Music was my refuge. I could crawl into the spaces between the notes and curl my back to loneliness. In my rented room, I would play a record, then put my arms around the schoulders of the song. As we danced, glued together,I would nuzzle into its neck,kissing the skin and rubbing its cheek with my own." Maya Angelou / Singin’ and Swingin’ and Gettin’ Merry like Christmas. Publisher: Bantam (May 1997) ISBN-10: 0553380052 ISBN-13: 978-0553380057 Maya Angelou is widely acclaimed as an outstanding example of triumph over adversity. The range of her life is itself extraordinary, and her writing is sheer poetry. In this book, Maya Angelou tells us without restraint how she crawled out of the hell of her youth years to become a star dancer. It is a vivid decription of the situation of the African Americans and their mentality in the middle of last century. Evocative language, sharp, intelligent and fluent. Ever wonder where Angelou's last name originated and how she "morphed" from Marguerite Johnson into Maya Angelou? The earlier books explained the "Maya," but this one explains the "Angelou." It's a neat revelation. A book to recommend.

The Complete Incense Book by: Susanne Fischer-Rizzi Publisher: Sterling (June 30, 1998) ISBN-10: 080699987X ISBN-13: 978-0806999876 "What is essential is never lost; it lies dormant, only to reappear when the time is right... I finally realized that the time was right for this ancient wisdom, with its power and healing ability, to surface again." The Complete Incense Book draws upon traditions throughout world history, blending historical survey with a rundown of incense plants, recipes, and instructions for preparing vessels. Though there's a fair amount of text to wade through, the rewards are many as narratives evoke the spirits of the Druids, the gardens of Babylon, the Oracles of ancient Greece, the mysticism of Arabia, and many other incense-loving cultures. Her website can be visited at




In our Ispahan shop, you can find something for anyone: Men,Women and Kids.. and all revenues go to a good cause..

G o

t o

t h e


s h o p

h e r e :


This is me! My name is Linda, I'm from the east of the Netherlands and I have been bellydancing for about seven years now..

It all started when I was on holiday in Turkey, in 2003. One night I saw a bellydancer perform at the hotel, and I was amazed by her isolations, her costumes, the music... but most of all her expression of joy. I knew right away that this was what I wanted for myself too, and two years later I read an article in the local newspaper about Sheila Meijers teaching bellydance lessons in my hometown. I signed up right away and I was hooked since the very first class, and she still teaches me to this day. One of my favourite dancers is Randa Kamel, who dances in the New Cairo Style. Once I saw her perform several years ago, I was struck by her charisma and technique. Her style was so dynamic and captivating I decided I wanted to study New Cairo Style myself, so I started taking classes with dancer and choreographer Amarah Ates in Amsterdam. That was when I sort of re-discovered bellydance, because I had to learn new techniques - some moves are influenced by contemporary dance or folkloric styles I haven't danced before. But besides that I love the expressiveness, the inspiring choreographies and of course the costumes. When it comes to performing, I have always enjoyed dancing with others. Since 2009 I have been a member of Showteam Shazadi, a troupe with eight fellow students. What I like about being in a troupe is that you can motivate and learn from each other. Besides performing at parties or festivals

we also join competitions, because they area good way of motivating us to take our performance to the next level.It has worked very well so far; we have won several prizes in both national and international competitions. And it's always nice to meet other dancers and get inspired by them.

Sadly, Middle Eastern dance has a shady reputation to a lot of people in western countries, where being in touch with your feminine side is sometimes considered as a weakness rather than a strength. There is not a lot of media coverage showing talented, powerful and elegant dancers. But you do see “bellydancers� in popular talent shows who are mostly either really unskilled, dance in a different style or they confirm the misconception of bellydancers trying to seduce men like a cat in heat... Of course all people should know middle eastern dance is an ancient art, that it is classy and beautiful. And fun of course - who doesn't love sparkly things and dancing with your friends?


But I think there are also a lot of health benefits in bellydancing. For example, tilting your pelvis straightens your spine and improves your posture, which reduces backaches. And because the moves are actually very natural to your body, it's also a very suitable form of exercise for older people or those who have joint problems. But those advantages are not just physical; whenever I feel down, tired, insecure or unable to concentrate dancing always makes me feel better. I hope someday bellydance gets the reputation it truly deserves, and all people know that it's a great activity for anybody, no matter what your age, figure or physical condition is!

Linda. More Linda? Visit her on Facebook: (

All photographs courtesy of: ŠAlexander Hettema (


Remember this..? Sonia & Amirah’s World Belly Dance Day in Waanrode (BE) 2011.. With performances of Amirah, Sonia Saïda, Queenie, Hanaa, Johanna, Ispahan, Chadia & Luna.. ..and many more..!



FABRIC Urban Decay products via : (Now on sale: Body glitter!) or at Sephora.


FABRIC: 1. Sequin Embroidery on Mesh Purple & Gold Waves fabric, by: Zhejiang Golden Leaf Textile Co.(through Made in



2. Teal blue Indian silk brocade fabric by: Everything Indian

3. Peach Burgandy Sari Indian Saree Fabric for sale on Ebay by MysticLotus:



4.Indian Scarf by: Hennes & Maurits

5. Blue sequin on black velvet fabric, designer or resale unknown


6.Blue sequin fabric by: KSS Enterprise, U.S. (through Global

7. Multi colour sequin embroidery fabric by: Shaoxing City Xinfan Embroidery Fabric & Metallic Yarn Co. (through Ali

5 7

8. Multi colored stretch lycra by: Vander Vorst Modestoffen.

9. (opposite page) Peacock fabric by:

8 31

Laid Back

Cushions by: Hema (left) Xenos (top) V&D (right) Xenos (bottem)


Photo & artwork by Kashka (

Looking for workshops, lessons or performances in Voi/Poi/Veil/Cane and many more (Oriental) dance styles? Shujana is the best! Or for some (relaxing) Yoga lessons or workshops, go to:

Photo & artwork by Kashka (


Warming Up to Dance -Every dance class and workshop should start with an effective warm-up!-

Our warm up helps us make the transition from resting to dancing. A proper warm up can reduce the risk of injury and even asthma attacks for those who are prone to exercise-induced asthma. About 5-10 minutes is all it takes to prepare our bodies to do our best in dance class. No matter what the activity, an effective warm up gets all the major muscle groups moving. Some instructors use dance isolations in the warm up, and while these can certainly work as part of the specific preparation for your style, larger, multi-joint movements that aren’t typical in belly dance are also important to really get the body prepared for the rest of class. As I’ve said so many times before in the DBQ (’Daily Bellydance Quickies’), this is not the time for long static stretches. If an instructor leads the class in splits at the beginning of class, the only “splitting” you should do is out the door! Some instructors leave the students to warm up on their own before class, but I have never felt comfortable with this practice because the students often simply don’t know how. Even if they are familiar with good general warm up techniques, they don’t know what you specifically have planned for the lesson. This may include lots of shoulder, back or head movements that require extra attention to those areas of the body. In my classes, always tell my students what’s planned as we start and any specific thing we are doing to prepare our bodies to be ready for it. What exactly does a warm up do for our bodies? »An effective warm up routine increases our heart rate and breathing, which brings more oxygen to our muscles so they can do more than sit at a desk or in a car, which is probably what they were doing before class. »Getting all the major muscles moving increases the internal temperature of our body. That doesn’t mean we’re hot and sweaty already. Warm muscles are more receptive to movement, especially those that use a larger range of motion that our daily activities. »Our joints get a lube-job. When our body gets the cues that we’re picking up the pace of our day, it adjusts the fluid in our joints for better functioning. This is important for everyone, but especially those with the remnants of old injuries, arthritis or tendinitis issues. »On a less scientific level, I believe that the warm up is also a psychological transition from my students’ work day to their “me time”. It plugs their brain back into their body so they can focus on learning and the joy of moving.

Those first 10 minutes of class set the stage for the rest of the hour. Get things off to a good start, either on your own or as the instructor. Now that you know all the good things that happen to your body in the first few minutes, make sure to get there on time so you don’t miss out! Mahin is a professional performer and instructor dedicated to helping dancers of all levels to blend technique and artistry with her “In the ears, out the hips” philosophy. She is also the author of the “Daily Bellydance Quickies” email. For more information, please visit


ŠPhoto& artwork by Kashka (



12-14 Oct. 2012

Mundo Oriental is taking place at 12-13 &14 October of this year. This Great Oriental Dance Event is organised by Amira Shazadi, a German dancer and dance teacher, with strong Brazilian Roots. Besides Oriental Dance, Amira also teaches Salsa, Samba and fusion OrientalLatin American styles. New to her repertoire are Axé Bahia and Salsa Lady Style.., for more information on Amira’s Dance Studio, please take a look at these pages: At the Mundo Oriental Festival, dancers from all over the world are one big happy (dance) family. They perform on the Gala Show and teach workshops in multiple dance styles in the days before the show. Why don’t you join us?! For this year, ‘big’ names such as: Izida, Sophie Armoza, Aleksei and Nelly will be there, as well as... Ispahan! Do you want to know more? Then please visit: (or .eu), or the Mundo Oriental Facebook page: We would love to see you there!

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Amira Shazadi is based in Kempen (Germany). She is organising Mundo Oriental for the third time now and is also hosting Brazil Oriental 2012(on the 19th of May). Furthermore, Amira has her own show group, called Desert Breeze, she teaches numerous dance styles in regular lessons & workshops and, of course, performes herselves on many occasions.


Authentic tribal Hmong hill tribe bag by

Put this in your Belly Dance Bag..! Antique Peach Rose Hair Pin by Zibbet/ Sweet Heart Studio (through

Antique Tribal Jewelry by Peoplesim

Waterproof Temporary Tattoo Stickers for dancers who like them, but not forever.. by Dino

Silver Barrettes Lightning Bolt Set of Hair Pins/Clip OrnamentEthnic Tribal Rajasthan by East Empire (through Beaded tassels by Silk Road Tribal .com


Holly McWilliams Dancer & Painter Holly McWilliams studied art at the Alberta College of Art and Design in the mid 90’s and since 2000, she has been a professional artist and art teacher with Swinton’s Art Instruction. She also developed a deep love and obsession for dance. As the founder of Indigo Arts in 2005, she has since set out on her goal to inspire people to realize their own passion and expression of their creative self, through art and dance.

Paintings on this page: above: Sepentine (oil on canvas, 20”x 20”, 2010) right: Sinuous Grace (oil on canvas, 20”x 20”, 2010) The paintings on the right is available, contact Holly through:


Paintings on this page: left: Embracing the Moment (oil on canvas, 16”x 24”, 2010) right: Spot Light (oil on canvas, 20”x 24”) The right painting is still available, contact Holly through: Holly Mc Williams: ‘I spent 5 years of my professional dancing career performing regularly in restaurants every weekend around Calgary and also dancing for events within the city. After the 5 years I became enticed with the idea of actually having weekends off and a little bit more time for my painting career, so I pulled myself out of the regular gigs of the restaurant tirade. Although I do miss it, it has allowed me to start to use dance as another form for expressing myself artistically. I no longer feel the restraints of sticking to one genera of music and have taken my bellydance vocabulary and combined it with other types of music - Thus a fusion dancer is born. I find I now am mostly excited about creating a mood and a story with my dance. I have a range of everything from your traditional bellydance oriental, to being inspired with vintage 1930’s and Art Nouveau visuals and then can slide right into the idea of theater inspired dance coming to life. I am inspired by many forms of music classical Middle Eastern music, electronic fusion music, bollywood and even indi rock.’


Besides dancing and painting dancers, Holly finds subjects for her paintings vitually everywhere: in music, in landscapes, in animals and fantasy.. And not just in oil on canvas, she also uses mixed media. Your time is very well spend, when taking a trip into her world. So visit her website!

Capturing the light, the atmosphere, the posture & feeling of dance: Holly McWilliams does it all. Putting any of these paintings on your wall or in your dance studio will immediately bring you in the dancin’ mood and stimulate you to be artistic, be bold, to be a dancer..

Paintings on this page: left: Intertwine (oil on canvas, 24”x 24”, 2010) right: In the World of Sensation (oil on canvas, 20”x 20”) These paintings are sold/ unavailable


Holly: ‘I identify with the archetype of a mad scientist - always trying new crazy ideas, prepared for the inevitable explosion, but excited for the discovery that comes out of it and not being afraid of losing my eye brows in the process. ‘ I am a multifaceted, creative, individual that thrives on the idea of expression of the creative beast - in whatever form that takes.’

Paintings on this page: left: Distantly Focused (oil on canvas, 16”x 24”, 2010) right: Poster of a Girl (oil on canvas, 20”x 30”, 2010) Both paintings are available, contact Holly through:


Eastern Expressions May - June* Package Deal

Organising a hafla?

The DVD (above), the CD ‘Mozaic’, plus the Belly Dance Rhythms Instruction Manual for only € 39,95

Very reasonable prices! Please e-mail for more information.

-only for readers of Ispahan Magazine!!-

Please e-mail to: (and mention ‘Ispahan Package Deal’) For more info: or (Japanese version)


*Package Deal only available in May & June 2012

Check this out!! For more info on our workshop at Mundo Oriental, go here:


Myth 1. Eating chocolate makes you feel good..!

Myth 2. Skin cream is absorbed by your skin and nourishes it..!

We all know that eating chocolate or going on a shopping spree doesn’t make you happier.. Wenn you feel the blues, try to find out why this is and fix it, if you can. If you can’t: stay away from the city or the refrigerator.. you know that you will be staring at empty wrappers or shopping bags later and go: why did I do this, again?

There is not a cream in the world that is actually absorbed by your skin. What you experience is water from the cream evaporating into the air.. the residu leaves a light layer on top of your skin and thus prevents your body to vaporise water from the inside out. This water will be ‘held’ by the cream and this gives the effect of a smoother skin.. but as soon as you clean your face, this effect is gone.

Oh, and only dark chocolate (86%) is actually good for you, if you eat only one small piece a day..!

Myth 3. Only smoke and alcohol cause breast cancer..! Although smoking and drinking alcohol (and certainly a combination both) can cause breast cancer, there are other health risks to be considered. A possible source of aluminum in breast tissue may be the use of underarm antiperspirants, so try to find an aluminum-free formula. Also the stuff that makes plastic go weak and soft (in baby toys or grown-up womens toys) contain a health risk.BPA is not illegal yet and is used in baby bottles and toys, in the food industry and practically all PVC’s. In the Western world Bisfenol A can be found in anyone’s blood and urine.

The only cream that makes any sence, is suncream (SPF factor 15 or over). The rest is all make believe!

Myth 4. Shampoo is good for your hair..! Try and find a shampoo without Sodium Laureth Sulfate (or Natriumlaurylether-sulfaat in Dutch).. it is hard to do, since this is the ingredient that does the cleaning.. (most other ingredients are just to make it look and feel nicer). Sodium Laureth Sulfate is also found in most other detergents (that you use in your kitchen) and also in heavy industie (cleaning grease of machines) for it is a cheap product. But apart from skin and eye irritation, large quantities can cause cancer.. and even hair loss! So: don’t wash your hair daily and rinse the shampoo out immediately!

Want to share a myth? E-mail us!


Myth 5. Rub your wrists together after applying perfume..!

Myth 6. Plucking grey hair causes more to grow back..!

This is not helpful in any way. Rubbing your wrists together is known as 'bruising' the perfume or the scent. Instead, spray it on yourself and leave it for a couple of minutes to dry, or more diva-like: spray in into the air and walk through the ‘cloud’.

Simply not true. Also not very effective... you can’t stop the process! (Also cutting your hair to make it more thick, healthier or grow faster is a myth. Hair is not alive, only the hair follicle (in your skin) is, so cutting it does nothing except give you a new look.)

Myth 7. Loverboys only prey on young girls.. so I am save! Unfortunately, Loverboys come in all shapes and sizes and you can be a victim too. They find you through social media (like Facebook) and seem to good to be true.. and they are. Fallen into their hands (being in love) after they told you everything you want tot hear, they either use you to traffic drugs (and you might even be unaware of this), for visa or immigration papers or make you addicted to drugs and sell you off into their prostitution network. Or a combination of the above.They are very skilled in detecting women that go through a rough time in their live and are willing to talk to a stranger about this.. They also have much experience in what to tell you and often are ‘working’ on several women at the same time. Best to not add people you don’t know in real life to your friends list, or don’t share personal details with people you don’t know.

Myth 8. Rubbing lemon on your teeth makes them whiter without damaging them! The citric acid from lemons will make them whiter, but it also wears away the enamel. Don’t make this a habit! Another ‘natural’ trick is to apply strawberries with baking soda onto your teeth and the same warning goes here: not everything ‘natural’ is good or save!

Myth 9. Water is healthy...! Of course, water is extremely healthy, but some research suggest that water from plastic (PET) bottles containes stuff you don’t want to consume. By drinking water from plastic bottles, you have a high probability of drinking estrogenic compounds (hormones). It can also cause high levels of dioxin in breast cancer tissue. Don’t drink bottled water that has been left in a car. The heat reacts with the chemicals in the plastic of the bottle which releases dioxin into the water. Dioxin is a toxin increasingly found in breast cancer tissue. When heating or freezing food: use glass.


Copyright © Kashka 2012

Copyright © Kashka 2012


Copyright © Kashka 2012

Because photoshoots or pictures, taken by professional photographers at hafla’s you performed at, can be costly (and rightfully so) it can be a good idea to do more with the results.. Like these pictures: adding other elements and color gives ‘old’ pictures a new life. I won’t claim that I am a professional Photoshop user, but I hereby offer my services to you, please e-mail me for more info and prices.


Copyright © Kashka 2012

Your ‘old’ pictures can also be used in designs for hafla’s, performance advertisements, business cards and lots more.. So ‘recycle’ your pictures and give them a new life. You’d be surprised what can be done, to give them a entirely new look and ‘feel’..!

Copyright © Kashka 2012


Or maybe you are not completely satisfied with how you are portrayed or there is something in the background that ‘spoiles’ the picture.. it can all be fixed! Most of the photographs of myself, used on these pages, are home made by the way.. in my livingroom, with only one (spot)light.. I mention this to show that even ‘bad’ pictures that are blurred can be used to create something special.. Of course you decide how ‘clean cut’ or ‘fantasy’ it should be.. More info through:

Copyright © Kashka 2012


The Dancer and the Photographer.. Aveyanda Skye & ‘Vava’(Y)vonne: two very outspoken women met and worked together.. with this beautiful result! Photograph Copyright: Yvonne van Dalen -

Aveyanda Skye on: Discovering fusion.... When I was 13 years old, my class and me went to amusement park "Efteling". It was very hot outside and the park was very crowded. There is one ride called "Fata Morgana", which is a 1001 nights themed boat ride, and that day it had an enormous waiting line. We had to be in line for over an hour before we were able to get in. But the Efteling had great solution: there was a stage with Bellydancers! I couldn't keep my eyes of them and I felt almost sad when I finally got on the boat ride. Bellydance virus alert! I never really thought about taking lessons, as a teenager I felt like I was more of a rock chick. I started playing electric guitar. I was dreaming of having my own band with rock music when I bought a really expensive guitar and amplifier. I could clearly see myself on a big stage! I learnt to play it quite well, but I was shy about playing in front of others. I was asked to play in bands, but only if I switched to bass guitar and if I was willing to wear a short skirt on stage.. (!!) Years went by and I slowly lost interest in playing guitar.


Then there was, although I'm still not a fan, Shakira on MTV! The bellydance virus lit up and I started looking for local bellydance lessons. I found one teacher in a town near by, took about six classes and realized it was not for me.. This teacher was very technical and teaching very slowly. I expected more actual dance in a dance class. Some time later I found a new bellydance teacher, called Shanti. She was older and not a professional dancer, but she was extremely enthusiastic! Taking her class was so much fun. It was all about dancing and laughing. There were no mirrors and everybody was treated equally. After a while we wind up doing a little performance together at a local party. Then I was hooked and I much more eager to learn. I literally out grew my favorite teacher. One class a week wasn't enough and I started buying videos and DVDs, I clearly had my eye on performing. I needed to expand my dance vocabulary and decided to take lessons from a professional bellydance teacher. It was hard leaving my first real teacher, but I will always treasure her for lightning the dance fire in me.

As much as I loved the sequins and glitter I was told that having tattoos was not accepted in the bellydance community but I didn't let it get to me. After my first oriental dance class with my new teacher, she approach me and she told me she had noticed my tattoos and dreads and asked if I was interested in Tribal? I honestly had no idea what she was talking about.. She invited me to come an open class. I tried to Google ‘Tribal’ but came up with nothing that looked like bellydance. I brought a friend and we looked odd with our shiny beads and coins scarves. Everybody else looked completely different! During this class the teacher was explaining how to wear a turban. My friend and I were getting kinda gigglish, we did not come

there to hear about turbans! We whispered to each other; this is so NOT for us. Soon we where put back in our place. They asked us to join them on the dance floor. We thought we could do it, it didn't look very difficult, but we had no idea there where cues! Everybody else was turning at the same time or shimmying at the same time and we ...we looked like complete idiots!

The teacher was telling the group more about American Tribal Style and then she mentioned Tribal Fusion. She said that was mostly done by girls like us. Pointing at my friend and me. She meant girls with dreads, tattoos, piercings and how they had a different approach to bellydance than ATS or Oriental style. To demonstrate what she was talking about, she played a part of the dvd Bellydance Superstars in Paris; Rachel Brice...Wow, that was it! She was the ultimate rock star who was bellydancing! Both my friend and me where stunned. When I went home, I immediately bought the DVD online and decided to take the ATS classes after all because at that time nobody was teaching tribal fusion bellydance. I knew I would never wear the turban but I knew I was closer to learning what I needed to learn.

Later I went on to take workshops and I got my own little fusion troupe together. First we did a tribute to Rachel Brice and the Indigo. Unfortunately people thought we were copying and were not taking bellydance very seriously and this let to a bit of commotion in the local scene. I wont go into it too much but lets just say the bad attention we got made us even more popular (and stronger!) Within a year after we formed we were doing shows and when the troupe dissolved after 2 years I went on to do solo shows.


Now almost 7 years later, I look back at a great career of Belly dancing! I traveled and performed all over Europe and performed at the tribal/fusion stage; Tribal fest in the USA. (I sold my guitar and amplifier to pay for my trip and take classes there.) I managed to create my own typical style of fusion where I can still be a rock chick AND a bellydancer. Go on stage without a guitar and still rock my socks off! I even had the chance to perform with some great bands instead of being in one and perform at the coolest music festivals. When my own style evolved I managed to give fusion bellydance a bigger depth, with more storytelling and adding more emotions to the dance like many oriental dancers where already doing in their style of dancing.

AVEYANDA SKYE & .. Unfortunately, a year ago I had back surgery and it looked like I might never dance again. However I slowly learned to adjust my movements and although I cannot take or teach workshops right now, I can still do a small performance. And instead of taking every paid bellydance job that comes my way, I only do great shows that I really love to do. I don't think I will ever cure from that virus!

Aveyanda Skye. 52

Photographs courtesy & copyright: Yvonne van Dalen Š -

VAVAVONNE INTERVIEW WITH A PHOTOGRAPHER Don’t we all love to have pretty pictures? I think we all, at some time, begged our boyfriend or husband to take pictures of us in costume.. Not always with great results. A professional photoshoot! That would be great... but also a bit scary..? Maybe the following will help you cross that bridge! An interview with Yvonne van Dalen..

manner, while maintaining an original shot? Along the shoot I can handpick the best images and I always show the model what we have come up with, so we can improve or change the approach we are working with. That is why I never work with a mirror: me and the models play back the images that we have shot. This way, we all stay focussed. The model can concentrate on posing and following my directions, and is not distracted by looking at himself/herself in the mirror.

CLICK! CLICK! Q: When booking a shoot with a professional photographer, you assume that all work conditions are present and that the photographer has a professional point of view and aims to obtain the best results. However, with the shoot date arriving, you can get extremely nervous. In front of the camera, it suddenly seems you no longer know how to pose, what your best angles are and suddenly the whole shoot setting makes your mind go blank! Often photographers won't work with a mirror for you to see yourself in during the shoot. How can I prepare best? Why don't I need a mirror? And in case of nerves, what can I do? Yvonne: When you have never been in front of a camera and you, like most people, want to look your best, you often get nervous, because you get too camera-aware. Picking the right photographer can appear a "small" detail, but is of the utmost importance, especially since nonprofessional models don't know which studio offers the right services you are looking for. Practicing in front of the mirror helps, but it is often important that the photographer can make you feel at ease and gives you posing guidelines along the way. I let my models start in a certain pose they come up with themselves and then start working from there, looking for the best angle. Which side of the face is best? How can I capture someone in a beautiful, yet relaxed

Since I look through my camera and the model is looking into it, that contact is very special, but also very personal and fragile to make. As for ideas, preparation? Most of the times shooting creates the best ideas, ideas that you couldn't have come up with alone at home brainstorming. Mostly people tell me that they feel comfortable in front of my camera, and the opening line "I never look good in pictures" is quickly brushed aside, as soon as people see how beautiful they DO look in pictures! Everyone has his/her own unique beauty and for me it is a challenge to capture that beauty and uniqueness. That is what making photography such a rewarding job.

Q: Indeed, there is the important fact that the model and photographer have to have a certain chemistry. Unfortunately there are certain photographers who make the best pictures, but would never get booked by me. Why? The clichĂŠ of the photographer who "loves" women, showers them with compliments and has a hidden (inappropriate) agenda: Not to make their models feel relaxed, but to have them show as much "skin" as possible. It is an unfortunate matter. What is your point of view on this? Yvonne: The fact that people feel at ease when shooting with me mainly lies in the fact (and that is



Copyright Yvonne van Dalen Š -

my personal view) that I work in a very laidback manner and talk models through the shoot. A bit of distraction and guidance while shooting helps the team get the most relaxed results. Fortunately, I myself don't have any experience with the amateur photographer who wants to shoot women while having them overstep their boundaries by making uncalled-for proposals.


I can only speak for myself, when I say that the fact that I am a FEMALE photographer does make a difference. Furthermore I set to every shoot in the same way: I enter into clear agreements, discuss and brainstorm with clients about what they want in advance, and we all sign a model release form, which states the rights and obligations of models and myself as a photographer and the nature of the shoot. Part of that release consists of me, as photographer, committing to treating the images in a correct manner, and I think that this inspires confidence. And besides that, I can advise anyone who has never been at a photoshoot, to mainly listen to his/her own gut feeling and stop shooting should the least bit detail or remark worry you or make you feel uncomfortable! If you don't feel you're in a safe environment, just pack up your stuff and go home. Real professionals have their own (mobile) changing stations and will not ask you to do things you don't feel comfortable with. But it also works the other way around. I sometimes get requests or phone calls of people who want to have erotic pictures of themselves (sometimes with their partner). And since I don't feel at ease with this kind of photography, I have drawn the line for myself there, and tell them "no" when I get such requests. And there you go, trust and chemistry is also very important for me and I don't just book any shoot that comes by. Q: The photographer is an actual person too, you mean, haha.. With their own set of boundaries and morals, which can give you a clue. I don't have anything against sensual images, but I always defend Oriental dance when people proclaim it is nothing more than a circus act or lapdance-type

of thing. My question to you is how to assess the type of photographer you are dealing with, before you’re in front of his/her camera? What are key points to look for, and do you recommend meeting the photographer before booking a shoot? Online portfolios and websites don't always tell you everything, since images can be obtained from the Internet with a few simple mouse clicks.. How can you tell whether someone is authentic, professional and works properly? Is it normal to have the photographer put you on the spot and say: "Well, tell me what you want or just do your thing."? Or does a photographer have to have a certain concept in advance? Does "professional" mean a big studio with all kinds of expensive equipment, different backdrops, enormous lights and umbrellas? Or doesn't that guarantee anything? In short: can you help us, as customers, with all these uncertainties?


Yvonne: A few years back I worked on a location shoot with my camera and a seperate, small flash. I had to be able to get around quickly and shoot in all kinds of narrow, quite impossible places and therefore brought along my light-weight kit. We worked with a team of four photographers that day and one of them seemed to have emptied his entire studio and transported all the gear onto the shoot location. Literally: a small truck came onto set and heaps of equipment came out: trolleys, studio flashes, cables, light meters, long-focus lenses, tripods, stand, you name it..! Quite impressive, you would think? The opposite is true: In the end the photographer didn't know how to interact with his models, was standing literally meters away from them and gave directions that the models couldn't hear from behind his camera. He wasn't hired again for further work. Why? He was technically well-founded, but not creative enough for this particular job. No click, no chemistry, no special pictures. And that is why "photographic equipment" is no guarantee for the qualities of the photographer you book.


In order to paint a correct picture of a photographer, I would first take a look at the website of that person. Does he/she use social media sites like facebook or twitter, or photo sites like flickr? Can you see work and comments on those pages? How does someone address you when writing you emails, or how does he/she sound over the phone? Do you have a friend or acquintance who has worked with that person before and what are his thoughts on this photographer? How do both parties come to an agreement?

say "we'll see", for the model has to be prepared when it comes to the required styling/ clothing/ posing, but also the photographer has to know the light/setting/lenses that he will need for the shoot. All in all, there are a lot of details when preparing and shooting. For me it is quite personal to "just" shoot a portrait of someone. But without doubt the model has to feel a connection as well. It comes down to collaborating for a very short amount of time and the chemistry has to be there.

Think about a clear price list, general terms and conditions, membership of a professional photographers association, recommandations on linkedin. How well or awkwardly do you communicate?

But whether all your considerations and agreements will result in you finding the photographer who knows what he/she is doing, goes about things in a professional manner, and meets your wishes and expectations? That, as you can conclude from my story, has to be a well-considered choice, combined with a personal gut feeling that you will be in good hands.

And discuss what you want, what ideas you have in mind. No one can "just" go to a shooting and

Yvonne van Dalen/ Vavavonne.


Copyright Yvonne van Dalen Š -

For more information on Yvonne’s work you can go to or "like" her page on facebook

More Aveyanda Skye? Go to or watch her dance at

Copyright©Vavavonne 2012

All Pictures courtesy and copyright Yvonne van Dalen © -


Selling a costume?

Organising a hafla?

PR for your shop?

Very reasonable prices! Please e-mail for more information. 58

The ISPAHAN Oriental Dance Company

At Your Party? Fulfil your dreams.. It’s possible! 59

What’s so FUNNY!?! If you come across some funny or striking stuff, preferably about Oriental Dance, please send it in!!

60 28

DATES lovely, healthy and sweet

The fruit is known as date. The name (Latin: dactylifera), comes from the Greek word for "finger" dรกktulos, because of the fruit's elongated shape. Dates ripen in four stages, which are known throughout the world by their Arabic names kimri (unripe), khlal (full-size, crunchy), rutab (ripe, soft), tamr (ripe, sun-dried). Fresh dates are a source of vitamin C and a 100 gram portion supplies 230 kcal (960 kJ) of energy. Since dates contain relatively little water, they do not become much more concentrated upon drying, although the vitamin C is lost in the process.

DATES as (afternoon) snack >> put the dried ones in homemade granola >> mix fresh ones into pumpkin, spice, and/or oatmeal muffins >> put an almond in it and a small dallop of chilled cream on it >> put fresh ones in a shake >> make your own "Larabar" by mixing 'em with cashews or pecans >> throw them in a salad, or combine them with slices of cucumber >> stuff them with parmesan or goat cheese and wrap them in bacon >> put them on a sandwich with peanut butter and bananas >> make a chocolat - date baklava variation >> serve warm Apple Tart with Date Ice Cream and Red Wine-Caramel Sauce Mmmmmm... recipes can be found here:


Copyright © Kashka 2012

Everybody is a dancer… ‘On with the dance! Let joy be unconfined; No sleep till morn, when Youth and Pleasure meet To chase the glowing hours with flying feet.’ ---Lord Byron. ‘Dance, when you’re broken open. Dance, if you’ve torn the bandage off. Dance in the middle of the fighting. Dance in your blood. Dance, when you’re perfectly free.’ ---Rumi. ‘Dancing in all its forms cannot be excluded from the curriculum of all noble education: dancing with the feet, with ideas, with words, and, need I add that one must also be able to dance with the pen?’ ---Friedrich Nietzsche. ‘When you do dance, I wish you A wave o' the sea, that you might ever do Nothing but that.’ ---William Shakespeare.




-an Oriental Glossy for the world of Oriental DanceWhy? Because we felt like it ;-) How? Easy as apple pie!

All it takes is You... and your input. Do you like it, are you missing something, is it fun? We would love to hear so! Here is how it works: You can send us your copy via our e-mail address: (in English, but also in Dutch or German.., no problem, we will translate. This can be a response to one of our topics, or something entirely different and new..) For page 10, for instance, we would like to receive stories, about one specific costume you own, how you got it, who designed it and what is means to you, including at least one photo (in a high resolution quality and with permission to use) of you, wearing it.If you would like to send us your story, please make it about 120 words long. This page is not for advertisements, but for personal stories only. For page

22 tell us about your experiences at a venue or gig..!

On page 36, you can advertise your event. There will be a fee involved, so please email us for more information.The basic text can be about 150 words long, plus max. 50 words for additional/ background info (bottom page) and should include a photo of you (in good quality and with permission to use). For page 37 (things to take with you, in your purse, when going to a gig), you can suggest products. Please include a short personal note on how to use it and why you simply can’t live without it! For page 60 goes the same: you can suggest funny or inspiring things you found on the internet, that have a link to Oriental Dance. And, as mentioned before, comments on things you saw or read in this magazine are also most welcome! However, sending us your copy is no guarantee that it will appear in this magazine and obviously foul language is not accepted. We will take the liberty to perhaps shorten your text or slightly alter it. In case you want to sell something (as in: I am a shop owner and want to draw attention to a specific item or to my (internet) shop, or: I am a photographer and I want to present my work, or: I am a dancer and want to sell one or more of my costumes, or: I am organising a workshop and want to attract clients, etcetera), please contact us at: and let us know what you would like (how many pages, etc.). Again, high quality photographs and the permission to use them are critical!


Dance, otherwise we are lost.. (Pina Bausch)


Thank you.. & Good Bye!

ISPAHAN Magazine 2  

ISPAHAN Magazine, an Oriental Dance Glossy.

ISPAHAN Magazine 2  

ISPAHAN Magazine, an Oriental Dance Glossy.