Gia has been dancing since first setting foot on terra firma as a child and has since studied with some of the world's finest Middle Eastern Dance teachers.
"Belly Dancing wasn't the first type of dance I studied as a child, but it will be the last dance I ever do. It has become an all-consuming passion and deep love for me. My own Middle Eastern roots have found a place to take hold and every part of my mind, body and soul seem to be in agreement for the first time since birth!"
Gia attended dance classes from the time she was 3 years old until the time she graduated college. "I have a Theater Arts degree that focused on dance as well as acting skills. While my dance education has, of course, been of paramount importance in my career, it is my acting skills that I find so useful in projecting my emotions to my audience!
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Gia has a collectable porcelain doll named after her. The Gia doll graced the cover of a National Doll Collector's Magazine last year. |
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"My many moods are very well supported by Middle Eastern Dance. I am aware that many dancers shun the sensual aspect of the dance, but I am very engaged in the true expression of the pleasure of each shimmy and undulation. It's like the gusto you feel when indulging in chocolate: it's a sensual pleasure, one that should be relished and portrayed in your dance (if appropriate for you)!
"I am SO looking forward to a future that will hold more performance opportunities for me. I love to work, I live to create."
1. What particular styles of Middle Eastern dance (ME) have
you studied?
I have studied Egyptian, Turkish, a bit of Lebanese & Persian,
mostly cabaret style.
2. Who were your teachers for the ME styles?
Nourhan Sharif, Anahid Sofian, Aszmara, Morocco, Fahtiem, Amira
Mor, Jehan Kamal, Samara, Rayhana, Ayshe and many others.
3. What ME dancers were most inspiring for you?
Every single one of them! Local dancers, such as Chadia, Rayhana,
Aszmara, as well as Rania, Fahtiem, Aziza Saiid. The list is endless.
4. If your specialty is something other than ME, what differences
do you see between the different ME styles and your preferred dance style?
The differences are all about style and technique: crisper
or softer movements, costumes, etc. What I find fascinating is the
important SIMILARITY; no matter WHAT style you dance, it's all about
the dancer, her emotion and ability to project those feelings in dance.
5. What classes do you teach?
I offer classes in belly dance both privately and at studios around
Northern New Jersey. My workshops focus on the fundamentals of Performance
and Showmanship for dancers; Make-Up application for stage; Veil workshops
and more!
6. Do you regularly perform at particular places?
I perform at several restaurants in the Northern NJ area and dance
twice a week at Al Kasbah Restaurant at Budd Lake, New Jersey.
7. Do you have any upcoming events?
On Saturday, July 17, 10:30-11:30 a.m. I will present "The Profession
of Dance" seminar at Dancing Lotus Studio. More information can be
found at my "Study
with Gia" page.
On Sunday, July 25, at 3:00 p.m., Cabaret Cairo returns to the Luna Stage for their next Theatrical Extravaganza! Tickets can be purchased in advance by by visiting BellyRhythm.com.
When shake comes to shimmy, Middle Eastern dance as a whole is about one thing and one thing only: the absolute projection of what the dancer is feeling as she dances to the music being played. As opposed to other disciplines, such as ballet or jazz dance, where the dancer plays a role or is lead to portray an emotion, Middle Eastern dance movements, from every style, require the dancer to expose her soul. I read a quote that said "We (as belly dancers) DANCE with the lower half of our bodies, but emote above the waist." I think that this could not be truer! Arms reach for a lover who has gone, the chest lifts in joy and heads slide with flirtation...accented like a punctuation mark...by the hip! All these movements are universal in 'our' dance, yet each style appears different because each dancer is different. We all bring the unique experience of our lives to the dance floor.
When 'regional dialects' (Egyptian vs. Turkish) suggest that certain moves are eliminated, such as floor work, the emotions are still portrayed -- big arms, small arms, wild shimmies or controlled, the message still gets across!
9. Could you elaborate on the different styles and the corresponding
attire that you have studied?
I've seen differences in all people as I have noticed similarities!
Egyptian and Turkish definitely have a different approach to costumes as
well as in the modern style of their dance (specifically, cabaret).
Egyptians tend to be more 'controlled' in their movements and covered in
their costumes, whereas Turkish Dancers seem to embody a less inhibited
costume and dance style. I think that these 'regional accents' are
very much a product of the environment, a direct result of political and
social climate in those countries.
As an American Cabaret Belly Dancer, I can blend both these styles and portray my emotions more fully and accurately. At some moments, dancing can involve very controlled accents and choreography, while other times I let loose with giant hip drops. As America is a melting pot, so is my dance!