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Ms. Ward is known for her sophisticated, elegant, and expressive style, combining the soft lyricism of Middle Eastern dance with the technical precision of Western classical tradition. Working in the dynamic idiom of "belly dance" (a form encompassing a wide array of styles and movements from the folk, social, and classical traditions of numerous cultures), her technique reflects Egyptian, Iranian, and ballet influences. As a teacher, Ms. Ward is known for her structured approach and attention to detail. Since 1999, she has taught more than one thousand students. In addition to her own classes, Ms. Ward is a faculty member at New York Dance Center. Before relocating to New York, Ms. Ward taught dance through the Joy of Motion Dance Center in Washington, DC. Ms. Ward has danced in New York City and Washington, DC for numerous theatrical events, restaurant and nightclub engagements, weddings, and other private celebrations. In November 2003, she was a featured dancer at the Sixth Awards of Belly Dance Show in Hollywood, CA. In 2000, she performed choreography at Explorer's Hall, the Museum of the National Geographic Society in 2000; her program included Middle-Eastern belly dance, Persian classical dance, and Egyptian folk dance. Ms. Ward has also been a featured dancer on television. In 2003, she was showcased on cable channel New York One. In 2002, she was profiled in a documentary produced by the DC Commission on the Arts and Humanities. In 1999, she illustrated her art on Washington DC's Fox 5 morning news. As principal dancer with Washington, DC's Silk Road Dance Company from 2000-2002, Ms. Ward danced in venues such as the John F. Kennedy Center for the Performing Arts; the Embassy of Uzbekistan; Warner Brothers in Hollywood, CA; the Library of Congress; the US State Department; Nazemi ParsArt Center in Van Nuys, CA; and North Carolina State University in Raleigh, NC. Ms. Ward is available for weddings, parties, and other private celebrations; theatrical or nightclub performances; cultural and arts events; bridal showers and other women's parties; dance classes, workshops and private lessons; and choreography commissions. |
1. What particular styles of Middle Eastern (ME) dance have you studied?
Like most dancers involved in ME dance, I have an eclectic
mix of just about everything. I've concentrated on Egyptian raqs
sharqi, but I try to take advantage of as many educational opportunities
as I can. My training includes Arabic, Turkic, and Persian classical,
social, and folk dance styles; Uzbek and other Central Asian dance; Georgian
and other Caucasus-region dance; flamenco; kathak and other Indian dance;
artistic and rhythmic gymnastics; and ballet.
2. Who were your teachers for the ME styles?
I am immensely grateful to Michelle Forner, with whom I studied from 1996-1999. Michelle's high standards and detail-oriented approach continue to shape my dancing and teaching more than any other influence.
I'm also indebted to Laurel Gray. I learned Persian
and Central Asian dance styles when I was a member of the Silk
Road Dance Company. Laurel and I collaborated on several projects
while we taught through the Joy of
Motion Dance Center.
3. What ME dancers were most inspiring for you?
My students! I usually cry at recitals.
My favorite dancer to watch is Beata
Cifuentes. She is beautiful on video and absolutely shines in
person. I suggest that North American dancers seek out the few workshops
that Beata and Horacio offer in the US and Canada.
4. What differences do you see between your preferred dance style and the other ME styles?
My signature style is fundamentally Egyptian, but I incorporate many non-Egyptian elements. I'm especially known for arm and hand movements, and complex undulations in the torso.
What really sets me apart from being authentic to any ethnic tradition is my classical orientation. While I have an intense emotional connection with this dance form, I work from an analytical and formalized vocabulary and approach. Belly dance encompasses so many styles -- participatory and performance; traditional and innovative; folk, social, and theatrical. I would never want to see this inclusivity limited.
For me, the most important thing is to respectfully
develop formal, academic, classical disciplines within Oriental dance.
When our community talks about raising standards and entering the mainstream,
this seems to revolve around slick, glossy presentations to pop music.
I love that we are represented in popular culture, but we also need and
deserve a spot in the world of high culture.
5. Do you teach classes? If so, where?
My classes are on a summer hiatus, but are scheduled
to resume in the fall. I teach at several New York City locations,
including New York Dance Center in Chelsea and Union Street Dance in Park
Slope, Brooklyn.
6. Do you regularly perform at particular places? If so, where?
I perform at many New York City restaurants and nightclubs on a rotating schedule, and usually dance several nights a week. Also, schedules change -- it's a good idea to call me or the venue to confirm.
Please see my website
for a current class and performance schedule.
7. Do you have any special events and/or workshops
coming up in 2004 or 2005?
Honestly, I'm still kind of recovering from my move
to New York in October 2002! I'll be showing some new group choreography
at Rakkasah East.
I hope to get back to the West Coast in 2005 or 2006.