‘Amir Ezzat holds a bachelor degree in Arabic music, a diploma in oriental music and ethnomusicology. Amir was born into an artistic environment in El Minya and started to play the Egyptian tabla (darabuka) at the age of six. As a young percussionist, he joined various music groups and participated in music competitions, winning one award after the other. At the age of 18 he moved to Cairo and joined the High Institute of Arabic Music. Today, Amir Ezzat teaches at the High Institute of Arabic Music and works as a percussionist in the Egyptian Opera House in Cairo and Alexandria. He performs at various concerts of the Cairo Symphony Orchestra, accompanies famous Arab singers and participates in international festivals such as the Mediterranean Sea Festival in Southern France, the Karthago Festival in Tunisia, festivals in Jordan and the Arabian Gulf. Amir regularly travels to Europe to play at concerts, for example in Austria, Spain, France, England, Hungary, and Holland. He specializes in the different types of Egyptian popular arts and he teaches workshops for young people who are interested in the percussion instruments. As well, Amir makes his own percussion instruments and is a famous Egyptian tabla (darabuka) and riq manufacturer in his country. Currently he is a researcher at the High Institute of Arabic Music’

Click here to message Amir Ezzat via facebook with any enquiries and below some sample pics of his handiwork.

https://www.nature.com/articles/d41586-020-00465-y

I am not quite sure what this research project is trying to achieve. The article explains that there are 3 important anomilies in this recreation, which means it probably does not sound like the 3,000 year old priest Nesyamun in any case! There are wonderful examples of recreations including the sounds of Ancient Egyptian music. However this sits in the bizarre basket – a bit Hollyology or even Frankenolgoy. What next – animation of limbs?

In the last paragraph of this article the author dodges the argument of ethics by proffering justification using the ancient Egyptian religious beliefs. Yes, it was the belief that after death, whenever your name was spoken you ‘lived’ and where rejuvenated in the afterlife.. What are your thoughts? Have vocal chords changed so much in 3,000 years we can not imagine a voice from the past? Do you think it valid research? Where would you rather money for archaeology/scientific research be allotted? https://time.com/5769431/mummy-speaks-voice/

‘My life would not seem complete without my regular dose of these fabulous dance classes.After a class I feel rejuvenated and fully alive. My back has opened up, and the beneficial effects I experience after that invigorating blend of stretching, workouts and dancing feel like a combination of what I previously got from pilates and yoga. This dance has tangible effects not just on the physical. It is life changing in that it also works on your psyche, exposing your blocks and where things aren?t in balance. Juliet gives not just a great physical workout but also useful philosophies for life. Juliet?s classes are always varied. While reinforcing the basics she inevitably introduces new challenges that reinforce both strength and flexibility and pushes your boundaries and all to the rhythms of intoxicating music that gets into your blood. If you persevere through the first few weeks, you’ll be hooked for life.Seductive music, group energy, fabulous moves, irresistible costumes and a sense of the timeless and eternal, this is some of what you will experience in Juliet?s classes. She is a born teacher and she will lead you on the dance of your life, where you will discover the real you.’
F.M

‘I have been attending Egyptian Dance Classes taught by Juliet Le Page for a few years. I remember when I first attended class I felt so relieved. At last I had found someone that can teach me authentic Egyptian dance, music and culture. This is important to me because my mother is Egyptian but she left the country when she was 16. Juliet teaches with passion, discipline and knowledge. Her heart and energy goes out to us. The warm up and stretches incorporated in the lesson are of immense value. It prepares me physically and mentally for the dance. Juliet has taught me the structure of Egyptian dance, music and culture. This gives me a deeper understanding of the music.Juliet has taught me to feel the music within and to centre my energy. Her wealth of knowledge in all aspects of dance and the body has been priceless. It has made me connect with my inner core s trength. After class I fell like I am in rhythm with my soul and I am walking to a beat!’
N.S.

‘When I went to Egyptian dance classes run by Juliet Le Page, I felt a deep connection to the dance and music. Being Egyptian myself, I felt as if I was at home. Juliet?s teaching in exceptional. The way she explains the movement, dance and exercise make me understand the music at a different level. My daughter attends Juliet?s classes. It makes me happy to see her learning the dance and culture of the country of my birth.’
M.A.

…’Our organisation consists of people who come from Egypt and are well versed in its culture and its arts. Indeed I know some spent their youth actively in the company of artists and dancers. It is my great pleasure to convey to you their most appreciative feedback on your excellent, informative and thoroughly professional presentation. They were most impressed with your knowledge of the history of true Egyptian dance (rather than what is often passed off as such) and the ease with which you embrace its principles.’

M.W.E Egyptologist and Anthropologist

‘Thank you Juliet, once again for bringing the gift of Egyptian dance into my life, and with it all the wonderous shifts in my awareness and my energy flow. Every class is a feast I look forward to experiencing! Learning dance from you has been a revelation. I have always loved to dance. Movement and music always excites me, but you have awoken me to so much more. The connection of dance to my spirit and soul. I can’t thank you enough for that.’
DH

‘I am really enjoying these classes – thankyou for your fabulous teaching and breakdown of the dance movements. I appreciate even more now, how it is a long slow process to learn the dance, and how each person has their own personal journey both mind and body to be able to learn the various dance movements. It is really an awakening.
Egyptian dance -Juliet style, reveals your own personal inner world.’ NM

Systrum

‘I have had dancing classes with Juliet for approximately 6 years now. I was told about her class by a friend of mine and I had just come back from a trip to Egypt. So it interested me. I am a fairly fit person having done yoga, gym and some sort of exercise over the years. This dance works your body connecting all the muscles from the ground up. So any weak points are worked on. This dance has made me realise what my weak points are and to work on them. So not only do I have fun dancing, but I know I am also working those tiny muscles on the inside and making sure they are all connected and strengthened. It has taught me to know myself and understand how to use my body correctly.I wish I had met Juliet a lot earlier in my life, but as they say – better late than never.’
VR

‘……I am writing to say how WONDERFUL it was to be in your class today. Not only are you an accomplished speaker, but you are also an excellent teacher, as for your dancing, what can I say! I LOVED it and think that you have got something VERY SPECIAL. The grace and elegance of your movements will put to shame many who dance, even those who have achieved a level of recognition…..’ Malak Egyptologist

Ok! Here we are! The latest and possibly the last instalment of the Nefertiti and King Tut tomb saga…. (see past posts) – The Italian team who have completed ‘extensive studies with ground-penetrating radar’ have announced there is nothing behind the walls of King Tut’s tomb and accordingly it seems this is might be the final word.

This tomb is basically a plastered box room, with many inexplicable anomolies (both with the tomb construction/orientation and many of the artifacts), which flaunt the burial protocols for a king in Ancient Egypt. I think to be an Egyptologist you have to be totally entralled and inspired by a good mystery – because sometimes that’s all you’ll get…

https://www.theage.com.au/world/middle-east/mystery-of-hidden-rooms-in-tutankhamun-s-burial-chamber-solved-20180507-p4zdqf.html

May 7th 2018

Well here is the latest (see link below)…..but somehow I sense not the final word, on King Tut’s tomb being in proximity to Nefertiti’s burial chamber. There is something that doesn’t sit well with me in all of this, an inkling that not enough has been done, and even where focus has been exhausted (i.e. side wall chambers), I would like to know what Dr. Nicholas Reeves has to say on the matter. The hyperbole around the theory, (inevitable given the subject matter), may have worked against him. Egyptology – like many art/sciences – can be a minefield of ego, jealousies and politicing. I hope there is some continued interest in the theory. Dr. Reeves has been so patient and respectful observing the painfully slow protocols that inevitably surround such a theory and investigation of such an iconic tomb. This alone has garnered my respect and admiration.

https://news.nationalgeographic.com/2018/05/king-tut-tutankhamun-tomb-radar-results-science/

Special thanks to Jane Akshar for obtaining this wonderful footage of a Shadouf in action:

Rumi - 13th Century Persian poet and philosopher

�The Radiance that is neither east nor west
comes from a single moon��Infinite mercy flows continually�.

Rumi

I experienced this preternatural energy throughout Egypt � but particularly when traveling on, or when by the Nile in the South. There is an almost tangible sense of timeless balance and harmony between the female/male energies � a warm and wondrous envelopment, a strong impression of a great nurturing beauty and potent natural wonder. This sense of male/female accord that spans time and creation serves as an inspiration to what can be achieved when strengths are realised, rather than weaknesses exploited. �
Excerpt taken from �About the Logo� by Juliet Le Page on the Egyptian Elementals Dance website

Contemporary Sharqi - Juliet Le Page

Every soul needs to soar with music and take flight with dance.

Rudolf Laban in his book “A Life for Dance” writes “In dancing we are able to express relationships in which awareness of self and others is enhanced. The feeling of joy which dance can give helps us to harmonize ourselves and gain an increased sense of belonging.”

“It’s in the nature of dance that there is a necessity to the relationship to being alive to humanity” (1924)

Cocoons are safe and warm - why leave?

Two fine ironies I have found as a dance teacher:
1. Skill does not necessarily translate into Artistry
2. Knowledge does not necessarily translate into Development�

only the daring will brave the outer boundaries of their comfort zone – remaining there long enough to shift and Transform.
� Juliet Le Page 2011

“Just when the caterpillar thought it was dead, it became a butterfly.” �� Anonymous

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