Teaching Certification Preparation:  Suhaila Level 5 & Jamila Level 5   •   Licensed Instructor Preparation   •   Certification Workshop Instructor Preparation   •   Advanced Certification

Teaching Certification Preparation

In Salimpour L5, dancers pursue Teaching Certification.  Participants are evaluated individually based on skill and experience, and Suhaila carefully crafts and develops a personalized enrichment and project plan for each dancer that incorporates the following elements:  teaching skills, curriculum development, choreography, business, ethics, enrichment, creativity, and more.  Two types of L5 certification are available:  Suhaila Level 5 and Jamila Level 5.  Both levels follow the same steps.  Upon successful completion of a specific Level 5, teachers are eligible for additional training in that specific format to be licensed instructors for either weekly classes and/or certification workshops.  More information about all programs is below.

Suhaila Level 5

To begin SL5, students must have current SL4 certification and current JL2 certification (or higher).  With Suhaila Salimpour’s permission, a dancer may proceed through the following steps.

SL5 officially begins once a student submits:

  • A completed teaching training book.  See the link on this page for PDF instructions on preparing your teacher book.
  • L5 Book evaluation fee.
  • A certification registration form with L5 fee.  Contact the School’s Certification Coordinator for information about registration and payment.
  • Beginning in June 2019, all L5 submissions must include the additional projects (submitted at the same time as but as separate files from the book) listed below the book instructions.
After teacher books are evaluated and approved, Suhaila will develop a personalized plan for each dancer incorporating teaching training and apprenticeship as well as projects in business, performance, and more.  Suhaila and the student will develop a mutually agreed-upon timeline for completion of the work, typically less than 1 year.  (Failure to meet project dates and/or requests for large deadline extensions may require students to pay for an additional L5 test period and/or restart the L5 process with new projects.)  In addition to teaching requirements, the following is an example of the typical project list assigned to each dancer.

  • Read about and discuss classroom presence and room management.
  • Research the details and monetary requirements of opening and operating a studio in your area (or alternate enterprise); develop a corresponding promotional package for new students and member retention.
  • Develop content for online classes (choreography, stylization, lecture, etc.).
  • Discuss and complete an assignment on the operation of a dance company.
  • Discuss and complete an assignment on Middle Eastern culture or music and/or belly dance history.
Dancers create a personal choreography following the guidelines and requirements outlined in the Choreography Development workshop.
For SL5, students must demonstrate their ability to teach standard SL1 and Sl2 material.  As part of Step 2, Suhaila and the student develop a plan on how this material will be demonstrated:  live as part of TAing, on video via Skype privates, or a hybrid plan of live and video.

  • Live evaluation is conducted in live workshops or classes; the student serves as a Teaching Assistant (TA), apprenticing directly under Suhaila (or a specifically designated L5 instructor).  L5 students travel at their own expense to TA.  It is common for students to begin this work as early as SL3.  Live evaluations as part of TAing will be handled by the supervising instructor on site.
  • Video evaluation is handled through Skype privates with approved SL5 instructors.  (For Skype Privates, submit video of yourself teaching the material, in a class or alone.  Film yourself facing a mirror so that both your front and back can be seen clearly in the video image.)

The following list includes the minimal requirements; assignments may be waived or additional assignments made based on a student’s individual abilities and experience.

  • beginning SL1 warm-up (30-45 minutes)
  • standard SL2 warm-up (25-30 minutes)
  • primer (breakdown) of SL1 movements
  • primer (breakdown) of certain SL2 movements: pyramids and Vs
  • explanation of the Salimpour timing system and how to count it
  • explain the ¾ concept and how it fits into timing and counting.
  • basic finger cymbal introduction speech and breakdown of SL1 patterns

SL1 Moves:  sgls, 3/4 sgls, Pv Lks, 3/4 Pv Lks, int hip sq, int hip cir, int hip 1/2 cir, ext hip sq, ext hip cir, ext hip 1/2 cir, F8s (all), Tw, 3/4 Tw, und, Rc Lks, 3/4 Rc Lks, Rc slides, 3/4 Rc slides, Rc sq, Rc cir, arm waves.  Sl2 Moves:  Rc 1/2 cir, Pyr, Vs, Rc Pyr, Rc Vs, 3/4 F8s (all), Rc F8s (both), 3/4 Rc F8s (both).

Each teaching assignment and project will be evaluated, and feedback given to the student.  Note that in some cases, additional teaching hours or work may be required.
With permission, teachers may pursue additional training to serve as licensed instructors and offer School CECs (continuing educational credits) through their local classes and local workshops.  Licensed instructors contract with the School and pay a licensing fee to offer CECS, and they must maintain current L5 status.  Licensed instructors are also eligible on a event-by-event basis to contract and license general workshops that they teach to offer CECs to the attendees.  (Teachers may also train to teach certification workshops at which certification tests and CECs are given.  Such workshops must be approved and are covered by contract and licensing fees.)
L5 certification is valid for 2 years. For the Teaching Certification to be extended or renewed an additional 2 years, participants must complete the following:

  • 50 CEC Hours (plus renewal fee).  L5 dancers are still required to attend regular workshops to maintain their technique and stay up to date on the latest additions to the program. Dancers are encouraged to attend higher level workshops and to obtain feedback from Suhaila and other authorized instructors. In some ways, reaching L5 can be viewed as just the start. . . there is so much more to learn by participation in the program.
  • 25 TA Hours.  L5 dancers continue their TA hours, which typically means TAing one or two workshops during a two year period to maintain their L5 certification.
  • Conceptual or Project CECs.  Dancers may be given general or individual assignments. Assignments and projects are designed to promote the continual development of the L5 dancer.

Jamila Level 5

To begin JL5, students must have current SL5 certification and current JL4 certification.  With Suhaila Salimpour’s permission, a dancer may proceed through the following steps.

SL5 officially begins once a student submits:

  • A completed teaching training book.  See the link on this page for PDF instructions on preparing your teacher book.
  • L5 Book evaluation fee.
  • A certification registration form with L5 fee.  Contact the School’s Certification Coordinator for information about registration and payment.
After teacher books are evaluated and approved, Suhaila will develop a personalized plan for each dancer incorporating teaching training and apprenticeship.  Suhaila and the student will develop a mutually agreed-upon timeline for completion of the work, typically less than 1 year.  (Failure to meet target dates and/or requests for large deadline extensions may require students to pay for an additional L5 test period and/or restart the L5 process with new projects)
Dancers create a personal choreography following the guidelines and requirements outlined in the Choreography Development workshop.
For JL5, students must demonstrate their ability to teach standard JL1 and Jl2 material.  As part of Step 2, Suhaila and the student develop a plan on how this material will be demonstrated:  live as part of TAing, on video via Skype privates, or a hybrid plan of live and video.

  • Live evaluation is conducted in live workshops or classes; the student serves as a Teaching Assistant (TA), apprenticing directly under Suhaila (or a specifically designated L5 instructor).  L5 students travel at their own expense to TA.  It is common for students to begin this work as early as JL3.  Live evaluations as part of TAing will be handled by the supervising instructor on site.
  • Video evaluation is handled through Skype privates with approved JL5 instructors.  (For Skype Privates, submit video of yourself teaching the material, in a class or alone.  Film yourself facing a mirror so that both your front and back can be seen clearly in the video image.)

The following list includes the minimal requirements; assignments may be waived or additional assignments made based on a student’s individual abilities and experience.  Jamila-call-outs and teaching in circle format are recommended, but not necessarily required for all portions of class.

  • beginning JL1 warm-up (20 minutes)
  • standard JL2 warm-up (15 minutes)
  • primer (breakdown) of all Jamila step families and steps
  • introductory speech about each step family (5-10 minutes each)
  • lecture about the history of the Salimpour School and both formats and how they are related and connected (include typed transcript of lecture)
Each teaching assignment will be evaluated, and feedback given to the student.  Note that in some cases, additional teaching hours may be required.
With permission, teachers may pursue additional training to serve as licensed instructors and offer School CECs (continuing educational credits) through their local classes and local workshops.  Licensed instructors contract with the School and pay a licensing fee to offer CECS, and they must maintain current L5 status.  Licensed instructors are also eligible on a event-by-event basis to contract and license general workshops that they teach to offer CECs to the attendees.  (Teachers may also train to teach certification workshops at which certification tests and CECs are given.  Such workshops must be approved and are covered by contract and licensing fees.)
L5 certification is valid for 2 years. For the Teaching Certification to be extended or renewed an additional 2 years, participants must complete the following:

  • 50 CEC Hours (plus renewal fee).  L5 dancers are still required to attend regular workshops to maintain their technique and stay up to date on the latest additions to the program. Dancers are encouraged to attend higher level workshops and to obtain feedback from Suhaila and other authorized instructors. In some ways, reaching L5 can be viewed as just the start. . . there is so much more to learn by participation in the program.
  • 25 TA Hours.  L5 dancers continue their TA hours, which typically means TAing one or two workshops during a two year period to maintain their L5 certification.
  • Conceptual or Project CECs.  Dancers may be given general or individual assignments. Assignments and projects are designed to promote the continual development of the L5 dancer.
Teacher Book PDF Instructions
Prepare note cards (flash cards) for the following anatomy and ballet terms using Dance Anatomy by Jacqui Greene Haas and ballet dictionaries (see Resources page for recommendations).  Note cards should be no larger than 4″x 6″ or the equivalent; the goal is to have a standard-size card that is large enough to read easily and allow for notes to be added in the future.  They can be typed or handwritten; one or both sides of the card may be used. Each note card should include three things:

  1. term in English
  2. brief definition in English
  3. definition, notes and diagrams in your own words. This section does not need to be in English.

Before using the anatomy book, read the notes for belly dancers for the book on the Resources page of this website. These exercises are to help you learn more about how your body works. Exceptions and adaptations for belly dancers are discussed in workshops and classes.

Anatomy Terms

  • Flexion
  • Extension
  • Abduction
  • Adduction
  • External rotation
  • Internal rotation
  • Plantar flexion
  • Dorsiflexion
  • Slow twitch fibers
  • Fast twitch fibers
  • Concentric contraction
  • Eccentric contraction
  • Isometric (static) contraction
  • Agonists
  • Anatagonists
  • Synergists
  • Stabilizers
  • Supine
  • Prone
  • Superior
  • Inferior
  • Anterior
  • Posterior
  • Transverse
  • Sagittal
  • Cervical spine region
  • Thoracic spine region
  • Lumbar spine and sacrum region
  • Inspiration
  • Expiration
  • Transversus abdominis muscle
  • Multifidi
  • Erector spinae
  • Pelvic bones
  • Fascia
  • Clavicle
  • Scapula
  • Carpal
  • Glenoid cavity
  • Scapulothoriacic
  • Glenohumeral
  • Trapezius
  • Port de bras
  • Sacrum
  • Acetabulum
  • Hip disassociation
  • Tensor fasciae latae
  • Iliotibial band
  • Femur
  • Quadraceps
  • Adductors

Ballet Terms.  Focus on the general meaning of the terms as they can be applied to and combined with other terms.

  • allegro
  • allonge
  • arabesque
  • attitude
  • arriere, en
  • avant, en
  • balance
  • battement
  • grand battement
  • battement en croix
  • chaines
  • chasse
  • cou-de-pied
  • croix, en
  • degage
  • demi
  • derriere
  • dedan, en
  • dehors, en
  • devant
  • developpe
  • enchainement
  • entree
  • etrende
  • face, en
  • fondu
  • grand (grande)
  • l’air, en
  • pas
  • passe
  • pique
  • piroutte
  • plat, a (pied a terre)
  • plie
  • port de bras
  • promenade
  • releve
  • rond de bras
  • rond de jambe
  • sauter
  • sickling
  • sous-sus
  • soutenu
  • spotting
  • de suite
  • tableau
  • tendue
  • terre, a
  • tournant, en
Complete the following exercises from Dance Anatomy by Jacqui Greene Haas. The assignment goal is to increase your awareness of different muscle groups. For the purpose of this assignment, consider this work as exploratory, allowing yourself time to breathe and observe, rather than treating these as conventional exercises where you do so many repetitions or sets. Approach the exercises carefully and mindfully with a body that has been properly warmed up. Read through the entire exercise, including all safety tips, cautions, and dance focus notes before beginning the exercise. Students are recommended to explore no more than five exercises in a session. Seek assistance from a dance professional when needed.

Notes:

  • Before using this anatomy book, read the notes for belly dancers for the book on the Resources page of the main website. These exercises are to help you learn more about how your body works. Exceptions and adaptations for belly dancers are discussed in workshops and classes.
  • For exercises using weights, use no weight unless you are under the supervision of an exercise professional.

For each exercise, include the following parts typed:

  1. exercise title and page number
  2. list of muscles involved
  3. in your own words, list (rewrite) the dance focus
  4. include your personal observations and notes; when applicable makes notes on when you feel these muscles working during class and/or when you observe (or how you will apply attention to) this muscle in specific belly dance movements; document any questions you have.

Chapter 2

  • Locating Neutral page 20
  • Leg Glide page 22
  • Trunk Curl Isometrics page 24
  • Hip Flexor Isometrics page 26
  • Spinal Brace page 28
  • Variation Side Hover page 29

Chapter 3

  • Lateral Breathing page 40
  • Breathing with Side Bend page 42
  • Breathing with Port de Bras page 44
  • Thoracic Extension page 46
  • Variation Trunk Extension page 47
  • Breathing Plie page 49

Chapter 4

  • Side Bend page 58
  • Trunk Curl page 50
  • Oblique Lift page 62
  • Variation Advanced Oblique Lift page 63
  • Side Lift page 64
  • Coccyx Balance page 66
  • Modified Swan page 68
  • Trunk Twist page 70

Chapter 5

  • Wall Press page 84
  • Variation Modified Push-up Plus page 85
  • Port de Bras page 86
  • Biceps Curl page 89
  • Triceps Pull page 90
  • Vs page 92
  • Rowing page 94
  • Plank page 96

Chapter 6

  • Plie Heel Squeeze page 108
  • Passe Press page 112
  • Inner-Thigh Press page 114
  • Hip Flexor Pulse page 118
  • Attitude Lift page 120
  • Hip Flexor Stretch page 122

Chapter 7

  • Hamstring Curl page 134
  • Hamstring Lift page 136
  • Side Scissor page 138
For this self-guided study, you will be analyzing yourself as a dancer using Dance Psychology for Artistic and Performance Excellence by Jim Taylor and Elena Estanol. By learning the concepts and analyses presented in the book, you will learn to better analyze your performance to aid in your personal dance growth. As you progress over time, your answers will most likely change.

Important Note: You will need access to the ancillary worksheets to complete this model; these workshops are NOT included in the actual book.  When you purchase the book (either in hardcopy or as an ebook), confirm that your source gives you access to the worksheets needed to complete the module.

Submit the following assignments as a single PDF document in the following order. Worksheets must be completed by typing (not handwriting).  Note that additional assignments are included in addition to the worksheets, so review the list below carefully to make sure to submit all required assignments.

 

Chapter 2 Knowing Yourself

  • Worksheet 2.1 Psychology Profile
  • Worksheet 2.2 Physical Profile
  • Worksheet 2.3 Technical and Artistic Profile
  • Worksheet 2.4 Priority Form

Chapter 3 Motivation and Why You Dance

  • Worksheet 3.1 Why I Dance
  • Worksheet 3.2 The Three Ds of Motivation

Chapter 4 Confidence

  • Worksheet 4.1 Confidence Inventory
  • Worksheet 4.2 Know Your Self Talk
  • Assignment 4.3 Write your own Dancer’s Litany.

Chapter 5 Intensity

  • Worksheet 5.1 Intensity Inventory
  • Worksheet 5.2 Intensity Identification
  • Worksheet 5.3 Intensity Key Words

Chapter 6 Focus

  • Worksheet 6.1 Focus Inventory
  • Worksheet 6.2 Relevant and Irrelevant Cues
  • Worksheet 6.3 Performance-relevant Key Words
  • Assignment 6.4 List and briefly define the four Ps of Focus

Chapter 7 Emotions

  • Worksheet 7.1 Positive and Negative Emotions
  • Worksheet 7.2 Examining Emotional Threats
  • Worksheet 7.3 Managing Your Fears

Chapter 8 Goal Setting

  • Worksheet 8.1 Goal Setting

Chapter 9 Imagery

  • Worksheet 9.1 Imagery Skills Profile
  • Worksheet 9.2 Imagery Exercises
  • Worksheet 9.3 Imagery Goals
  • Worksheet 9.4 Imagery Ladder
  • Worksheet 9.5 Imagery Scenarios
  • Worksheet 9.6 Imagery Log

Chapter 10 Routines

  • Worksheet 10.1 Personalized Pre-Performance Ritual
  • Assignment 10.2 Select and briefly describe a specific performance. Write a detailed dance bag list (see Fig. 10.1)
  • Assignment 10.3 List and briefly define the Four Rs of Transition Routines.

Chapter 11 Individualized Program

  • Worksheet 11.1 Areas for Development
  • Worksheet 11.2 Program Planner

Chapter 12 Stress and Burnout

  • Worksheet 12.1 Dealing with Burnout

Chapter 13 Injury

  • Assignment 13.0. Explain the difference between injury pain and exertion pain.
  • Worksheet 13.1 Pain and Injury Management Strategies.

Chapter 14 Disordered Eating

  • No assignments are to be turned in for this chapter.
Read Julia Cameron’s The Artist’s Way and complete the activites and morning pages; the process takes 12 weeks.  Note:  For dancers who completed the morning pages as part of their SL3 testing chute, submit both the Dance Anatomy and Ballet Definitions and the Dance Psychology Self Study projects as outlined in the current SL3 packet.

  • Bring your completed morning pages to demonstrate you have completed the 12 week study.  
  • Answer the following questions.  
    1. Define morning pages and the purpose of writing them.
    2. Explain how you followed (or didn’t follow) the morning page exercise and what you think you learned (or didn’t learn) from the process.
    3. Define what Cameron means by “filling the well”?
    4. In her discussions on Attention, Cameron states: “Very often, a creative block manifests itself as an addiction to fantasy.” Do you think this has specific merit to the belly dance world, or do you think all art forms have the same problem? Discuss.
    5. Cameron discusses synchronicity? Have you ever had an opportunity presented to you that you regret passing up? Explain.
    6. Discuss a specific artist’s date (and the related chapter, exercise or concept) and what you learned from the date.
    7. What does Cameron mean by “The Virtue Trap”?
    8. How does Cameron define “perfectionism”?
    9. What does Cameron mean by “filling the form”?
Audit the Yale class “Introduction to Classical Music” through the online course program with Coursera.  Complete the two exercises outlined below.

The goal of this project is to further your understanding of how to hear music and what to listen for. Although this course has been created with Western Classical music in mind, many of the terms and concepts are similar to what is presented in Middle Eastern music. Although this is a 9 week course, you are only required to watch the videos for the first 3 weeks as this information will be most relevant to our studies.

The Course can be found here: https://www.coursera.org/learn/introclassicalmusic/home/welcome

Click on the “Enroll Now” button, and select “Audit” to register for the course. You do not need to purchase the course to have access to the videos. Note: only the videos for Weeks 1-3 are required for this project.

Exercise 1

After listening to Weeks 1-3 of the course, pick 3 different pieces of music from the list of 100+ songs on the website. Using the concepts and terms discussed in the lessons, describe the music similarly to how Professor Wright does in his class. Use a minimum of 5 terms / concepts, and give time markers to your breakdown. (Note: in some cases the terminology might not be a complete match. If the general concept is the same, note the similarities / differences.) Discuss what effect the terms / concepts have on the emotional / structural delivery of the music, and how that might relate to your general choice of movement as a dancer.

Examples of (but not limited to) terminology to use:

  • Texture: Polyphonic, Homophonic, or Monophonic
  • Melody: Conjunct or Disjunct
  • Melody: Motive or Theme
  • Dissonance / Consonance
  • Antecedent / Consequent
  • Melodic Sequence: Ascending or Descending
  • Ritardando / Accelerando
  • Duple, Triple Rhythms
  • Form
  • Verse / Chorus
    • Ternary Form
    • Sonata Allegro
    • Theme and Variation
    • Rondo Form
  • Functional Types: Thematic / Transitional / Developmental / Cadential

Exercise 2

Write an essay (approximately 2 pages) on how this course has changed the way you hear music. What are some of the similarities you’ve noticed between Western and Middle Eastern Classical Music? What are some of the differences? Feel free to discuss any additional connections you have made through watching this course.

Licensed Instructor Preparation

After achieving either SL5 or JL5 certification, dancers are eligible to continue training in that specific format for licensing of their local classes and master classes. Licensed instructors contract with the Salimpour School to provide CECs to their local students.  For more information about the licensing program, contact the School’s Certification Coordinator.

Evaluation of potential licensed instructors is handled by Suhaila either in person through the TA program or through Skype privates.  (Note that Suhaila may require that some students go through pre-screening with L5 instructors first.)  Suhaila’s evaluation will include instructor presence, room management, student development, voice project, breath control, and more.  The minimum training requirements to prepare for licensing are listed below for each format.

SL5 Licensing Preparation

Demonstrate live (or by video) yourself teaching the following material.  If using video, make sure you can be seen clearly;  if you are filming yourself alone (without a class), film in a room with a mirror so that your front and back can be seen clearly in the video.

  • 2 SL1 classes including warm-up, drills, combo, and cool down.
  • 2 SL2 classes including warmup, drills, combo, and cool down.
  • 1 choreography:  select Elf Leyla or En Rah.
  • 1 drum solo:  Syncopations with finger cymbals

Demonstrate via private lesson (live or by video) or at Choreography Development Weeklongs.  All combinations must be approved by Suhaila directly (not L5 instructors).  All combinations should include finger cymbals when applicable.  These may be the same as or different from the combinations in your L5 Teacher Book.

  • 12 SL1 combos.  All SL1 moves must be represented in at least one combo. Each combo should be 48-64 counts long (six to eight measures of eight counts each).
  • 12 SL2 combos.  All SL2 moves must be represented in at least one combo. Each combo should be 48-64 counts long (six to eight measures of eight counts each).
  • Note:  Students may collect approvals on their combinations over time by having Suhaila sign their combination sheet (with combination written out in nomenclature).

JL5 Licensing Preparation

Demonstrate live (or by video) yourself teaching the following material.  If using video, you must film yourself teaching to a live class of at least 6 students; make sure your movement can be seen clearly in the video and that your voice can be heard.

  • Breakdown, teach, and integrate the JL1 mother steps (BsE, BsE-BWk, BsE-Wk-w/Pvt, BsE-w/Full-Sp)
  • 4 classes as you teach them to your local students (2 classes focused on JL1 and 2 classes focused on JL2)
  • choreography 1:  Ismaouni with finger cymbals
  • choreography 2:  Zay El Hawa

Demonstrate via private lesson (live or by video) or at Choreography Development Weeklongs.  All combinations must be approved by Suhaila directly (not L5 instructors). All combinations must include finger cymbals.  These combinations may be the same as or different from the combinations in your L5 Teacher Book.

  • 12 JL1 combos.  All JL1 moves should be represented somewhere in the set of 12 combos.  Each combo should be 48-64 counts long (six to eight measures of eight counts each).
  • 12 JL2 combos. All JL1 moves should be represented somewhere in the set of 12 combos.  Each combo should be 48-64 counts long (six to eight measures of eight counts each).
  • Note:  Students may collect approvals on their combinations over time by having Suhaila sign their combination sheet (with combination written out in nomenclature).

Certification Workshop Instructor Preparation

Certification Workshop Instructors train to teach specific workshops at which certification material is presented and certification testing is offered.  Such workshops have required content and structure and represent a high level of Salimpour technique ability and understanding.  To begin training to be a Certification Workshop Instructor, dancers must have current L5 certification in the applicable format and have successfully completed the Instructor Licensing requirements for that format (but do not have to be currently licensed as such).

With Suhaila’s permission, the training instructors first work with the Certification Coordinator to get information on the specific workshop and what is required.  General requirements for each format is below.  This material is evaluated by Suhaila either in person or via video Skype privates.

SL5 Certification Workshop Licensing

Demonstrate live (or by video) yourself teaching the following material.  Additional instructions will be provided on a case-by-case basis.

  • Assigned teaching segments for specific workshop to be taught.
  • Lectures and introductory speeches included in specific workshop.
  • Dance movement breakdown and instructor as required for specific workshop.
  • Breakdown and instruction of choreography(s) required for specific workshop level.
  • Additional material as required for specific workshop.
  • Explanation and personal testimonial of recommended training tools used for specific workshop level.

JL5 Certification Workshop Licensing

Demonstrate live (or by video) yourself teaching the following material using Jamila call-outs in circle format.  Additional instructions will be provided on a case-by-case basis.

  • Introduction and breakdown of Arabic Family plus integration with JL1 mother steps
  • Introduction and breakdown of all Pivot-Shift-Step steps and all Syncopated-Pivot-Shift-Step steps plus integration with JL1 mother steps
  • Full JL1 step review (40+ minutes)
  • Introduction and breakdown of Salaam Family and integration with Basic Egyptian Family
  • Introduction and breakdown of Debke Family and integration with Basic Egyptian Family
  • Full JL2 step review (60+ minutes)
  • Lectures and introductory speeches included in specific workshop.
  • Breakdown and instruction of choreography(s) required for specific workshop level.
  • Additional material as required for specific workshop.
  • Explanation and personal testimonial of recommended training tools used for specific workshop level.

Advanced Certification

With approval, Level 5 dancers can apprentice with Suhaila directly in several areas of study for additional certification.  Suhaila will create a personal path of study for the student and mentor them through the work.  This program takes several years.  Apprenticeship and advanced certification are available in the following categories:

  • Advanced Technique
  • Choreography Development
  • Performance
  • Curriculum Development
  • Developing Dancers
  • Master Instructor