Performance Catalog Overview

About Performance Catalogs

What is a performance catalog?

A Personal Performance Catalog is a documentation of your progress as you develop your performance skills in improvisation, choreography, stylization, and props.  Performance catalogs are submitted as part of the Level 4 testing requirements; dancers submit the best representations of their performance work from the previous two year period for evaluation.

Do I need separate catalogs for Suhaila and Jamila certification?

Yes, the Suhaila and Jamila formats have separate catalog instructions as outlined below.  The two formats have distinct differences, and it is important for dancers to be demonstrate their knowledge of a specific format while performing at a high level.  More information on the level requirements are listed in the Evaluation tab of each format below.

When do I start working on my catalog(s)?

As soon as you are L2 certified and begin working on L3 material, you are encouraged to start compiling your Personal Performance Catalog(s). Learning to improvise and perform takes time. Finding and creating performance venues takes time. You will want to gain stage and performance experience.  Note that the performance catalog is not just about performance skills; you must also perform at an advanced level which is further describe in the sections below.   Most dancers have performed for several years before they begin compiling the material they will submit for their L4 testing catalog.  The catalog represents the best of your work performed recently (past two years).

How long do I work on my catalog(s)?

For dancers who already has several years of performance experience, it typically takes a minimum of two years to collect the material for your catalog.  The catalog isn’t simply a record of your performances; what you submit for your testing catalog should include the best representation of your work that meets the level and content requirements as listed in the specific format section below.

Most dancers do not perform and improvise in the Jamila format.  Even if a dancer has already earned her Suhaila Level 4 certification, she may spend several years performing in the Jamila format before beginning to compile her Jamila Level 4 testing  catalog.  It is important to remember that performance development takes time and that the two formats are different.  Again, it is not just a matter of performing in a specific format, but you must also see the level and content requirements as outlined below.

After submitting your catalog for review, you will be expected to continue working on your catalog.  Individual assignments will be given that must be completed on a timeline to help the dance further prepare for the performance test.  In the big picture, your catalog is never finished. You always continue work on your performance.

When and how do I submit my performance catalog(s)?

You may submit your Personal Performance Catalog is part of the completed Level 4 Catalog that is due by December 1st prior to the Jan/Feb L4  workshop you are attending for the test chute.  Send the completed L4 Catalog link to the Certification Coordinator for catalog formatting review. (SalimpourCertification@gmail.com)

See the Suhaila L4 Testing Resources & Instruction section; “Catalog Presentation & Appearance” & “Catalog Submission Process” further detail.

About the Music

Where can I hear the sets?

Some of the music can be heard on Spotify via Suhaila’s public playlists.  In additional to performance sets, her playlists include songs and singers from the 100+ Compositions Every Belly Dancer Should Know list.  Click here to access Suhaila’s public playlists on Spotify.

Note: it can be hard to search for individuals on Spotify (especially using the mobile version).  If you have difficulty finding Suhaila, search for some of the music and album titles to see what playlists they are on, and from there you might be able to find Suhaila’s account.  Alternatively, click here to access the playlists.) 

How do I submit corrections?

Occasionally, different versions of the same CD are available with tracks separated differently, in different order, or with different titles.  If you have a change to or question about the sets, email the Certification Coordinator with specific details.  She will also need access to hear the music files so she can do a proper evaluation of the music.

About Improv-Prep Choreographies

What are the Improv-Prep choreographies?

To better prepare students for the improvisation work required in the Performance Catalogs, Suhaila has selected some of her solo choreographies for students to learn as part of their prerequisites for testing for SL4.  These choreographies provide solid entrances, exits, music interpretation, and more from which dancers can learn and apply directly to their improvisation work.  The choreographies can be found in the PPV section of the School’s online classes using the “Improv-Prep” filter; you must be logged in to your account and have current SL2 or higher certification to see the Improv-Prep category and choreographies as an option to purchase.

Can I use the Improv-Prep choreographies in my performance catalog?

The Improv-Prep choreographies are not included as options for your personal performance catalogs.
  • Raks Suhaila set from Arabian Musicals V1 (Tracks 1-3):  Raks Suhaila (5:53), Maddah (7:37), Unveiled Drum Solo (4:41).
  • Raks Jamila set from Arabian Musicals V1 (Tracks 1-3):  Raks Jamila (7:43), Guitar Solo (4:04), L3FCDS (4:42).
  • Maharjan Set from Arabian Musicals V2 (Tracks 5 and 1-3):  Maharjan (8:31), Keyboard Solo (3:56), Elf Leyla (5:30), Unforeseen Drum Solo (3:54).
  • Set El Hosen from Arabian Musicals V3 (Track 1):  Set El Hosen (10:37).
  • To be added in 2020: Joumana from Belly Dance (Music for for an Oriental Dance) Volume 2.

Suhaila Format Catalog Instructions:
Two Catalog Sections

Improvisation Section (100+ minutes)

Solo Improvisation:  100+ total minutes in full costume to a live audience. Note: Improv submissions will not exceed 200 minutes total.  Performances should include 60% of SL3+ technique which includes layering 2 (or more) belly dance moves, doubletime movements, finger cymbals (when appropriate), etc.  As applicable, dancers should demonstrate their emotional context and intent and demonstrate their use of the stage and audience projection grids.  The SL3 and SL4 certification choreographies are examples of the level of work that students should be submitting.

  • Option 1.  Recorded Music Only.  For this option, dancers select from the performance sets listed further below.  Catalogs must include a minimum of 12 unique sets.  The specific music selections and albums below are to be used; no alternative version substitutions permitted without pre-approval.
  • Option 2.  Live Music Only.  For this option, dancers perform to selections listed on the 100+ Compositions list (click here) performed by a live Arabic band (comprised of at least 3 band members)*.
  • Option 3.  Combination of Options 1 and 2.  For this option, dancer submit improvisation performances to recorded music and to live music as described Options 1 and 2 above.  Examples: 45 minutes of Option 1 and 75 minutes of Option 2; or 100 minutes of Option 1 and 20 minutes of Option 2; etc.
  • Finger Cymbals are an integral element of Salimpour School training.  As appropriate, use finger cymbals in your performances.  Indicate for each performance why or why not finger cymbals were used with a brief explanation of why this choice was made.

Notes

  • If in doubt about whether a live band’s music is useable for your catalog, please submit a clip of music from the band you wish to use to the School for approval.
  • If you have any questions about whether the footage from any specific performance will count towards your performance catalog, please contact us for clarification.

Stylization Section - Proficiency through Choreography

Demonstrate your stylization proficiency by submitting no fewer than 3 of the following choreographies from this approved list representing 3 different stylizations: (These are Stylization choreographies, separate from the other Choreography sections).

•Persian Choreography by Shahrzad Khordandi (SalimpourSchoolOnline.com)
•Tahitian Choreography Segment by Mahealani Uchiyama (SalimpourSchoolOnline.com)
•Khaleegi Choreography by Sabriye Tekbilek (SalimpourSchoolOnline.com)
•Baladi Progression Structure by Sabriye Tekbilek ((SalimpourSchoolOnline.com)
•Ciftitelli choreography by Rashid
•Ciftitelli choreography by Vilia

Bal Anat and Dance Company members may include:
•Persian Choreography for Bal Anat by Hannah
•Moroccan for Bal Anat
•Algerian for Bal Anat
•Ghawazee for Bal Anat
•Khaleegi Choreography by Sabriye Tekbilek for Bal Anat
•Kashilama by Rashid for Bal Anat

Footage may include a performance to a live audience or a filmed practice in a classroom without an audience.

Alternative:
•In some cases, dancers have experience with a specific stylization.
•Examples include Khaleegi, Turkish, Flamenco, Hawaiian, Persian, Indian, Fusion, Debke, etc.
•For this alternative, include at least 5 cumulative minutes of performance(s) to a live audience demonstrating the approved stylization.

How to Document Your Catalog

Maintain a written log of your video performances, following the list below. The entire footage must be submitted at one time for your L4 requirements, not piecemeal or in phases. The footage should be presented in an organized, numbered fashion on no more than 3 DVDs.  Alternatively, you may set up an unlisted/private YouTube or Vimeo channel that organizes your performances into playlists; the required documentation of each may be provided in each video’s description within the channel.

  • Performance No. __
  • Date of performance/Venue
  • Duration of performance
  • Performer(s)
  • Performance Type (improvisation with live band, choreography to CD, etc.)
  • Music title/composer/lyricist
  • Choreographer (if applicable)
  • Emotional Perspective
  • Your perceived % of layering (per format)
  • Include a note on why (or why not) finger cymbals were used.
  • L5 instructor approved and what date
  • Analyze your improvised performances, including only the best that meet the 60%+ SL3 technique requirement.  For each improvised performance, include a list of the 60%+ moves (written in nomenclature); for each item on the list, include the minute (ex:  0:42, 2:21) in the video where the move can be seen in the video.

Evaluation

Performances should include 60% of SL3+ technique which includes layering 2+ belly dance moves, doubletime movements, finger cymbals (when appropriate), etc.  As applicable, dancers should demonstrate their emotional context and intent and demonstrate their use of the stage and audience projection grids.  The SL3 and SL4 certification choreographies are examples of the level of work that students should be submitting.  The performance evaluations will include the following criteria:

Basic posture & alignment

Technique: Demonstrates a strong & identifiable Suhaila/Jamila presence defined by the presented format; based on technique and signature moves executed with confidence & ease.

Layering: Includes proficient layering throughout; based on the required skill level necessary to test for the Level 4 and defined in the training process of the presented format Suhaila/Jamila.

Composition: Presence of unity, continuity (transitions), and variety (contrasts and repetition)

Dynamics: Energy of movement expressed in varying intensities, accent, and quality

Stamina: technique, emotion, and audience connection maintained throughout

Transitions: Smooth (not choppy) changes from one movement to another; Continuity.

Stage Use: Space is used effectively and efficiently; all parts of the stage and the dancer’s personal dance space (Up Stage, Down Stage, etc.)

Stage Presence: Confidence and presence on stage; continuity throughout performance

Projection: Confident presentation of body and energy to communicate movement meaning clearly to audience

Finger Cymbals: Proficiency in finger cymbal playing; multiple patterns, matching to music, on time.

Musicality: Attention (awareness) and responsiveness to musical elements

Music: The music selection matches the required music list and era for the presented format Suhaila/Jamila.

Props: If props were used; presented with proficient skill and in a professional manor.

Costuming: Does the dancer’s costume fit the designated format stylization and era Suhaila/Jamila.

Jamila Format Catalog Instructions:
Two Catalog Sections

Improvisation Section (100+ minutes)

Solo Improvisation:  100+ total minutes in full costume to a live audience.  Note: Improv submissions will not exceed 200 minutes total.  Performances should be comprised of 40% Jamhaila, which includes fusing and overlapping of Jamila steps; layering with Suhaila moves; and finger cymbals (as appropriate).  As applicable, dancers should demonstrate their emotional context and intent and demonstrate their use of the stage and audience projection grids.  The JL3 and JL4 certification choreographies are examples of the level of work that students should be submitting.  In all music selections, be aware of Jamila stylization, eras, and sentiments as discussed in JL2, JL4, and L4 weeklongs.

  • Option 1.  Recorded Music Only.  Dancers select from the performance sets listed further below.  Catalogs must include a minimum of 12 unique sets.  The specific music selections and albums below are to be used; no alternative version substitutions permitted without pre-approval.
  • Option 2.  Live Music Only.  Dancers perform to selections listed on the 100+ Compositions list (click here) performed by a live Arabic band (comprised of at least 3 band members).
  • Option 3.  Combination of Options 1 and 2.  Dancers submit improvisation performances to recorded music and to live music as described Options 1 and 2 above.  Examples: 45 minutes of Option 1 and 75 minutes of Option 2; or 100 minutes of Option 1 and 20 minutes of Option 2; etc.
  • Finger Cymbals are an integral part of the Jamila Salimpour format and, as such, should be reflected in your Improv Catalog in a manner that is commensurate with their importance. Most, if not all, sets should include a section that demonstrates finger cymbal proficiency. In the event they are not used, provide a brief explanation of why this choice was made.

Notes

  • If in doubt about whether a live band’s music is useable for your catalog, please submit a clip of music from the band you wish to use to the School for approval.
  • If in doubt about whether a specific music selection is applicable for your Jamila format catalog, contact the School for clarification.

Stylization Section - Proficiency through Choreography

Demonstrate your stylization proficiency by submitting no fewer than 3 of the following choreographies from this approved list representing 3 different stylizations: (These are Stylization choreographies, separate from the other Choreography sections).   Note that you must submit three stylizations that are not the same stylizations you used for your SL4 performance catalog.

•Persian Choreography by Shahrzad Khordandi (SalimpourSchoolOnline.com)
•Tahitian Choreography Segment by Mahealani Uchiyama (SalimpourSchoolOnline.com)
•Khaleegi Choreography by Sabriye Tekbilek (SalimpourSchoolOnline.com)
•Baladi Progression Structure by Sabriye Tekbilek ((SalimpourSchoolOnline.com)
•Ciftitelli choreography by Rashid
•Ciftitelli choreography by Vilia
Bal Anat and Dance Company members may include:
•Persian Choreography for Bal Anat by Hannah
•Moroccan for Bal Anat
•Algerian for Bal Anat
•Ghawazee for Bal Anat
•Khaleegi Choreography by Sabriye Tekbilek for Bal Anat
•Kashilama by Rashid for Bal Anat

Footage may include a performance to a live audience or a filmed practice in a classroom without an audience.

Alternative:
•In some cases, dancers have experience with a specific stylization.
•Examples include Khaleegi, Turkish, Flamenco, Hawaiian, Persian, Indian, Fusion, Debke, etc.
•For this alternative, include at least 5 cumulative minutes of performance(s) to a live audience demonstrating the approved stylization.

How to Document Your Catalog

Maintain a written log of your video performances, following the list below. The entire footage must be submitted at one time for your L4 requirements, not piecemeal or in phases. The footage should be presented in an organized, numbered fashion on no more than 3 DVDs.  Alternatively, you may set up an unlisted/private YouTube or Vimeo channel that organizes your performances into playlists; the required documentation of each may be provided in each video’s description within the channel.

  • Performance No. __
  • Date of performance/Venue
  • Duration of performance
  • Performer(s)
  • Performance Type (improvisation with live band, choreography to CD, etc.)
  • Music title/composer/lyricist
  • Choreographer (if applicable)
  • Emotional Perspective
  • L5 instructor approved and what date
  • Your perceived % of layering (per format)
  • Analyze your improvised performances, including only the best that meet the 40%+ Jamhaila and riffing requirement.  For each improvised performance, include a list of the 40%+ moves (written in nomenclature); for each item on the list, include the minute (ex:  0:42, 2:21) in the video where the move can be seen in the video.

Evaluation

Performances should include 40% Jamhaila, which includes fusing and overlapping of Jamila steps; layering with Suhaila moves; and finger cymbals (as appropriate).  As applicable, dancers should demonstrate their emotional context and intent and demonstrate their use of the stage and audience projection grids.  The JL3 and JL4 certification choreographies are examples of the level of work that students should be submitting.  The performance evaluations will include the following criteria:

Basic posture & alignment

Technique: Demonstrates a strong & identifiable Suhaila/Jamila presence defined by the presented format; based on technique and signature moves executed with confidence & ease.

Layering: Includes proficient layering throughout; based on the required skill level necessary to test for the Level 4 and defined in the training process of the presented format Suhaila/Jamila.

Composition: Presence of unity, continuity (transitions), and variety (contrasts and repetition)

Dynamics: Energy of movement expressed in varying intensities, accent, and quality

Stamina: technique, emotion, and audience connection maintained throughout

Transitions: Smooth (not choppy) changes from one movement to another; Continuity.

Stage Use: Space is used effectively and efficiently; all parts of the stage and the dancer’s personal dance space (Up Stage, Down Stage, etc.)

Stage Presence: Confidence and presence on stage; continuity throughout performance

Projection: Confident presentation of body and energy to communicate movement meaning clearly to audience

Finger Cymbals: Proficiency in finger cymbal playing; multiple patterns, matching to music, on time.

Musicality: Attention (awareness) and responsiveness to musical elements

Music: The music selection matches the required music list and era for the presented format Suhaila/Jamila.

Props: If props were used; presented with proficient skill and in a professional manor.

Costuming: Does the dancer’s costume fit the designated format stylization and era Suhaila/Jamila.

Performance Lab Selections

The Salimpour School offers Performance Labs in association with certain workshops to allow dancers an opportunity to work on improvisation and receive feedback.  The following list includes the music selections (4 to 8 minutes) that will used at the lab; participating dancers will be assigned a piece either at the start of the workshop or just before the performance.  These pieces are not eligible to be submitted as part of a Performance Catalog unless a piece is listed specifically as part of an official Performance set.  (Note that advanced performers may be given selections from the official Performance Sets.)

  • Raks Jamila (7:43), Suhaila Salimpour’s Arabian Musicals Vol. 1
  • Raks Suhaila (5:43), Suhaila Salimpour’s Arabian Musicals Vol. 1
  • Hayati (6:36), Suhaila Salimpour’s Arabian Musicals Vol. 2
  • Nebtiti (5:20), Suhaila Salimpour’s Arabian Musicals Vol. 3
  • Mishaal (6:06), The Art of Bellydance: Suhaila’s Supreme Selections
  • Nadia (7:08), The Art of Bellydance: Suhaila’s Supreme Selections
  • Mizmar Holiday (5:22), The Art of Bellydance: Suhaila’s Supreme Selections
  • Tamr Henna (5:37), The Art of Bellydance: Suhaila’s Supreme Selections
  • Gamil Gamil (5:40), The Art of Bellydance: Suhaila’s Supreme Selections
  • Sahara City (5:12), Bellydance for Arabian Nights:  Abbud Abdel Aal and His Magic Strings*
  • Hizzy Na  Nawaem (6:04), Bellydance for Arabian Nights:  Abbud Abdel Aal and His Magic Strings*
  • Ya Ain Moulayetan (4:09), Bellydance for Arabian Nights:  Abbud Abdel Aal and His Magic Strings*
  • Ya Amarti (6:55), Jalilah’s Raks Sharki 2:  Amar 14 (Piranha)
  • Adkhoud Habibi (5:23), Ashrak Zakaraia Presents Layali Zaman (Sahra C. Kent Production)
  • Zaina (4:34), Ashrak Zakaraia Presents Layali Zaman (Sahra C. Kent Production)

*Bellydance for Arabian Nights Track Labeling

From Belly Dance for Arabian Nights:Abbud Abdel Aal and His Magic Strings
Note: Mislabeling on some CDs. See details below.

CD
1 Aatini El Naya & El Kalb Yachak Kol Jamil (sometimes mislabeled as “Sahara City)
2 Ya Salat El Zein (sometimes mislabeled as “Aatini El Naya)
3 El Ataba Khadra (sometimes mislabeled as “El Kalb Yachak Kol Jamil)
4 Sahara City (sometimes mislabeled as “Ya Salat El Zein”)
5 Afrah El Chaab (sometimes mislabeled as El Ataba Khadra)
6 Layaly Assiout (sometimes mislabeled as Afrah El Chaab)
7 Hizzy Na Nawaem (sometimes mislabled as Layali Assiout)
8 Ya Ain Moulayeten (sometimes mislabeled as Nizzy Ya Nawaem)
9 Chaim El Nassim Part 1 (sometimes mislabeled as Ya Ain Moulayeten)
10 Chaim El Nassim Part 2 (sometimes mislabeled as Chaim El Nassim Parts 1 and 2)

Original Album Side 1:  1 Sahara City; 2 Aatina el Naya; 3 El Kalb Yachak Kol Jamil; 4 Ya Salat El Zein; 5 El Ataba Khadra

Original Album Side 2:  1 Afrah El Chaab; 2 Layaly Assiout; 3 Hizzy Ya Nawaem; 4 Ya Ain Moulayeten; 5 Cham El Nassim

Salimpour School Performance Sets

Hamouda Ali’s Princess of Cairo (Nagwa Fouad)

  • Nagwa Set (Tracks 1-9):  Entrance of the Princess (0:34); Nagwa Music (4:39) – AKA “Princess of Cairo”; Waves of the Sea (0:52); Solo Nay (0:44); Khaliji (1:45); Taksim Violin (1:43); Taksim Kanoun (1:17); Set al Hosen (5:58); Finale (1:25)
  • Banat Eskandaria Set (Tracks 10-17):  Kanoun Intro (0:39); Sea of Alexandria (3:49) – AKA “Banat Askanderia”; Taksim Nay (2:39); Music of Souher Zaki (2:29); Sea Breeze (4:47); Taksim accordion (3:32); Tabla Solo (1:26); Finale (0:43)

Belly Dance (Music for an Oriental Dance) Volume 2

  • Sahar (8:38)
  • Nado (8:54)
  • Amale (8:36)

Belly Dance (Music for an Oriental Dance) Volume 3

  • Wardeh (7:45)

Belly Dance (Music for an Oriental Dance) Volume 6

  • Mahragan El Raks (11:15)
  • Samia (10:59)

Belly Dance Le Meilleur de la Danse du Ventre (Atoll Music)

  • Wardeh (7:27)
  • Amale (7:58)

Judy Jihan Reda Presents Egyptian Cabaret Music (HMC 1233)

  • Set 1:  Prelude to Hani (1:37); Hani (4:36); Flute Taqsim (1:19); Etdalla Ala Kefak (4:29); Saz Taksim (0:38); Drum Solo (4:52); Finale (0:32)
  • Set 2:  Sidi Inta (3:02); Oud Taksim (1:19); Leylet Hob (5:24); Oud Taksim (1:36); Kariat El Finjan (2:14); Kanoun Taksim (1:06); Kanoun Taksim (1:06); Habbena Medley (8:30); Drum Solo (3:17); Finale (0:32)

Jalilah’s Raks Sharki 1:  Classic Egyptian Dance

  • Mashaal (9:17)
  • Mashaal (9:17); Lissa Fakir (5:01); Tablo Solo (2:43); First Routine Finale (0:58)
  • Note:  Album also known as Mokhtar Al Said’s Raks Sharki Classic Egyptian Dance Music

Jalilah’s Raks Sharki 2: Amar 14 

  • Amar 14 (10:28)
  • Amar 14 (10:28); Nagua’s Tabla (3:01); Amar 14 Finale (3:32)
  • Amar 14 (10:28); Amar Andalus (3:54); Amar 14 part 2 (3:33); Enta Omri (5:27); Nagua’s Tabla (3:01); Amar 14 Finale (3:32)
  • Eshta ya Amar (9:44)
  • Eshta ya Amar (9:44); Rakiya’s Tabla (1:51); Eshta ya Amar Finale (1:24)
  • Ya Amarti (6:55); Souhair’s Tabla (1:18); Ya Amarti Finale (3:09)

Jalilah’s Raks Sharki 3: Journey of the Gypsy Dancer

  • Rihlat el Ghawzia (10:59)
  • Rihlat el Ghawzia (10:59); Tablo Solo (Track 11) (1:44)*; Rihlat El Ghawzia Finale (1:20) (Tabla Solo from Jalilah’s Raks Sharki 1)

Jalilah’s Raks Sharki 5: Stars of the Casino Opera

  • Tahia’s Dance (16:06)
  • Samia’s Dance (19:15)
  • Nebtiti Minin El Hikiya (17:17)

Jalilah’s Raks Sharki 6: In a Beirut Mood

  • Tales of the Sahara (11:03)
  • Tales of the Sahara (11:03); Beirut Rhythms (3:05)
  • Al-Houriyah “The Fairy” (14:52)

Cairo Delight: Nagwa Fouad (HMC 1294)

  • Raks Sharki (6:26); Rakasni (Accordion Solo) (0:58); Sahhn Dahhn Boo (4:41)
  • Entrance: Tamr Henna (7:23); Sahar Violin Solo (1:24); Tamr Henna Finale (1:24)

Aswan Dances with Souher Saki (HMC)

  • My Music Intro (10:19)
  • Long Version A:  My Music Intro (10:19); Balady (5:23); Gamil Asmar (5:11); Tabla Solo (5:10); Fakkarouni (10:48); Close Out (0:51)
  • Long Version B:  My Music Intro (10:19); Any selection from Tracks 2-5; Close Out (0:51)

Ya Salam Ya Fahtiem (George Fadel)

  • Tamerhenna (5:09); Balady Accordion (2;26); Nai Solo (3:32); Ahlam Beek (1:44); Drum Solo 1 (5:04); Baladay Nai (2:03); Finale 1 (0:47)
  • The New Ya Mustapha (19:50); Drum Solo 2 (2:07); Finale 2 (0:59)

Arabian Nights with Mesmera Vol. 9 (Setrak)

  • Gharret Ya Zaman (4:10); Rakset Zenha (3:41); Zagge Lil Arous (5:40); Rakset Alnay (6:18); Altabla Yijood (7:36)
  • Gharret Ya Zaman (4:10); Rakset Zenha (3:41); Rakset Alnay (6:18); Altabla Yijood (7:36)
  • Gharret Ya Zaman (4:10); Altabla Yijood (7:36)

Belly Dance: A Gift from Cairo (HMC)

  • El Samer Full Set:  El Samer Intro (2:15); Rumba Track 13 (3:27); Hebbina (2:48); Nay Solo (2:45); Dalal (2:42); Accordian Balady Track 17 (2:14); Tabla Solo Track 18 (1:04); El Samer Finale (1:34)
  • El Samer Short Set:  El Samer Intro (2:15); Rumba Track 13 (3:27); Hebbina (2:48); Accordian Balady Track 17 (2:14); Tabla Solo Track 18 (1:04); El Samer Finale (1:34)
  • Farha Full Set:  Farha Intro (1:39); Rumba Track 3 (1:40); Into Omri (5:10); Violin Solo (1:46); Fi Youm Wi Leyla (1:55); Accordian Balady Track 8 (1:32); Tabla Solo Track 9 (1:48); Finale Track 10 (1:12)
  • Farha Short Set A:  Farha Intro (1:39); Into Omri (5:10); Accordian Balady Track 8 (1:32); Tabla Solo Track 9 (1:48); Finale Track 10 (1:12)
  • Farha Short Set B:  Farha Intro (1:39); Rumba Track 3 (1:40); Violin Solo (1:46); Fi Youm Wi Leyla (1:55); Accordian Balady Track 8 (1:32); Tabla Solo Track 9 (1:48); Finale Track 10 (1:12)

Soher Zaki: The Magic of Belly Dance Vol. 2 (Press Hellas)

  • Ana We Enta Lawhdana (4:51); Jamil Wa Asmar (5:07)

Samara Al Hilwa (HMC)

  • Hilwa Loaaba Di (9:58)

Ziad Rahbani’s Belly Dance! Spectacular Rhythms of the Middle East (Khatwat Samar)

  • Khatwat Samar Routine (16:40):  Khatwat Samar; Taqseem Nai (Nahawand); Taqseem Kamanja (Violin/Bayyat/Saba); Taqseem Qanoun (Saba/Hijaz); Taqseem Accordion (Hijaz); Solo Tabla & Finale; Finale
  • Note: Different versions have been published; this was originally side A of a cassette tape, and is the first part of Track 2 on some CD versions.

Belly Dance with Ranine Vol. 17 (Setrak)

  • Set A: Rakset Ranine (3:10); Wala Ya Wala (4:35); Ya Ya Salam (6:19); Raksal El Takasim / Finale (4:51)
  • Set B: Rakset Ranine (3:10); Wala Ya Wala (4:35); Raksal El Takasim / Finale (4:51)
  • Set C: Rakset Ranine (3:10); Ya Ya Salam (6:19); Raksal El Takasim / Finale (4:51)
  • Note two versions exist: pre1990s version and a remastered version (late 1990s by HMC). The two versions have small differences, and either can be used.

Ashraf Zakaria Presents Layali Zaman (Sahra C. Kent Production)

  • Long Set:  Layali Zaman Oriental Routine (9:39); Halowet Al Tablah Drum Solo (4:36)
  • Short Set:  Layali Zaman Oriental Routine (9:39)

Ashraf Zakaria Presents Music for Egyptian Dance (Sahra C. Kent Production)

  • Long Set:  Darb Al Habaib (9:28); Quanoon Taksim (1:49); Tammerhenna / Tabla Solo (7:23)
  • Short Set:  Darb Al Habaib (9:28)

Belly Dance Classics with Fifi Abdo (HMC 1145 / 11452)

  • 2009 Mashaal (11:14).
  • Original Short Set:  Entrance of the Queen (5:06); In a Day and a Night (7:47).
  • Original Long Set:  Entrance of the Queen (5:06); Accordion Solo (1:54); To Believe In (3:38); In a Day and a Night (7:47)
  • Note:  Two versions of same-titled CD were published by HMC.  Original HMC 1145; newest version from 2009 HMC 11452.

Ahla Raqasat Nagwa Fouad, El Raqs El Sharqy (1981)

  • Naglaa (9:50)

Non Stop Belly Dance with Nagoua Fouad

  • Dance of Nagoua Fouad (13:23)
  • Entire album (as one set)
  • Hawa Ya Hawa Set:  Hawa Ya Hawa (1:45); Takasim Oud (1:38); Takasim Accordion and Drbukka (2:15); Abdel Marakeb (2:53)
  • Dance of Tahiya Set:  Dance of Tahiya (4:01); Takasim Oud (1:22); Gamil Wa Assmar (1:16); Takasim; Kanoun (1:44); Meta Choufak (1:34); Taksim Nay (1:47; Darawich (1:40)
  • Kariat el Finjan Set:  Kariat el Finjan (1:28); Taksim Accordion & Drbukka (3:07); Ya Bahiya (1:27); Darawich (1:40)
  • Note:  This is a Daniel der Sahakian Voice of Stars album that may be out of print.

Belly Dance with Aziza

  • Aziza (11:55)
  • Note:  This is a Daniel der Sahakian Voice of Stars album that may be out of print.

Super Belly Dance with Mohamed Abdel Wahab

  • Leilet Hob (13:42)
  • Wa Maret El Ayam (13:19)
  • Hazihi Leilati (7:20)
  • Fakarouni (7:51)  [Similar version on Omar Khorshid: Tribute to Oum Kalthoum; Fakarouni (8:40)]
  • Note:  This is a Daniel der Sahakian Voice of Stars album that may be out of print.

Belly Dance with Samara Volume 2

  • Rakast Samara (Set El Hosen) 14:04
  • Rakset Samara (Set El Hosen) 27:08 (long version)
  • Entire Album
  • Note:  This is a Daniel der Sahakian Voice of Stars album that may be out of print.

Selections Removed from Performance Catalog Jan 30, 2019

Suhaila Salimpour’s Arabian Musicals Volume 1

  • Raks Jamila Set:  Raks Jamila (7:43); Guitar Solo (4:04); Drum Solo (4:42)
  • Raks Suhaila Set:  Raks Suhaila (5:53); Maddah Al Amar (7:37)l Drum Solo (4:41)

Suhaila Salimpour’s Arabian Musicals Volume 2

  • Hayati Set Long:  Hayati (6:36); Keyboard Solo (3:56); Elf Leyla Wa Leyla (5:30); Drum Solo (3:54)
  • Hayati Set Short:  Hayati (6:36); Drum Solo (3:54)
  • Maharjan Set Long:  Maharjan (8:31); Keyboard Solo (3:29); Drum Solo (5:10)
  • Maharjan Set Short:  Maharjan (8:31); Drum Solo (5:10)

Suhaila Salimpour’s Arabian Musicals Volume 3

  • Siet El Housen Set:  Seit El Hosen (10:37); Drum Solo (4:00)
  • En Rah Set:  En Rah Ninnik Ya Ein (4:24); Yanna Yanna (6:05); Drum Solo (3:45)
  • Ali Gara Set:  Ali Gara (4:49); Nebtiti Mnein El Hikeiya (5:20)

The Art of Belly Dance:  Suhaila’s Supreme Selections (HMC 1389)

  • Mishaal Set Long: Mishaal (6:06); Inta Omri (4:54); Rakkes Suhaila (3:01)
  • Mishaal Set Short: Mishaal (6:06); Rakkes Suhaila (3:01)
  • Nadia Set:  Nadia (7:08); Daret Al Ayam (5:44)
  • Al Atlat Set:  Al Atlal (3:30); Gamil Gamal (5:47)
  • Tamr Henna Set:  Tamr Henna (5:37); Al Atlal (3:30)
  • Sahara City Set:  Sahara City (5:12); Ismaouni (3:28)

Belly Dance for Arabian Nights: Abbud Abdel Aal & His Magic Strings

  • Magic Strings Set 1:  Sahara City (CD Track 4) (5:12); El Ataba Khadra (CD Track 3 (6:34)
  • Magic Strings Set 2:  Afrah El Chaab CD Track 5 (2:52); Hizzy Na Nawaem CD Track 7 (6:04) Layaly Assiout CD Track 6 (4:12)
  • Magic Strings Set 3:  Chaim El Nassim Part 1 CD Track 9 (5:00); Ya Salat El Zein CD Track 2 (2:44); Ya Ain Moulayeten CD Track 8 (4:09)
  • Note:  See details in Performance Lab Beginning Improv Sets about CD mislabeling.

70’s Groove Set

  • Ah Ya Zein (4:1`6)*; Lama Bada Yatassana (2:31)*; Rakset El Fadaa (5:04)**
  • *From Belly Dance (Music for an Oriental Dance) Vol. 5
  • **From Belly Dance Le Meilleur de la Danse du Ventre (Atoll Music)
  • **Original and longer Version of Rakset El Fadaa (7:53) available on Belly Dance Vol. 1 (Belly Dance: Music for An Oriental Dance series from Voice of Lebanon or Digital Press Hellas)

Dunia Raks Belly Dance Music (Dr. Samy Farag / Sphinx Records)

  • We Maret El Ayam (8:52)

Dream of Scheherezade (HMC 1249) and Magic of John Bilezikjian

  • Dream of Scheherezade Set:  Intro (0:17); Melban (2:23); Chifte telli Bolero (3:58); Ah Ya Zein (0:54); Noora Noora (0;57); Rompi-Rompi (1:36)
  • Aziza (4:04)*; Lamma Bada Yata Thanna (3:48)*; Drum Solo (0:47)**; Shish Kebab (1:27)**

Fyom Weleleh: A Suite for Dance

  • A Day and a Night (9:28)

Belly Dance: Music of Mohamed Abdel Wahab (Press Hellas)

  • Karnak Set:  Khatwet Habibi (3:02); Ghazal El Banat (3:08); Bent El Balad (2:56)
  • Aziza Set:  Aziza (3:18);  Min Al Sharq (3:32); El Henna (3:27)
  • Zeina Set:  Zeina (3:48); Maouakeb El Nour (3:08); Balad El Mahboub (2:59)

Suhaila Format Choreographies

  • Princess of Cairo (Nagwa Music) by Suhaila
  • Banat Iskanderia by Suhaila
  • Tabla Solo (Princess of Cairo) by Suhaila
  • Ali Gara by Suhaila
  • Nar El Ghera by Suhaila
  • Into the Night by Suhaila
  • En Rah Ninnik Ya Ein by Suhaila
  • Yanna Yanna by Suhaila
  • Nebtiti by Suhaila
  • Rakkes Suhaila (Drum Solo) by Sabriye
  • Ana Fi Intazarak by Sabriye
  • Syncopations Drum Solo by Suhaila
  • Sabriye Miye Miye (Entrance) by Sabriye
  • Here With Me by Rachel George
  • Nebtidi Mnein El Hikaya by Stacey

Jamila Format Choreographies

  • Ismaouni by Suhaila
  • Raks El Zagat by Jamila
  • Sallam Allay by Suhaila
  • El Samer by Suhaila
  • Shams El Shamouseh by Suhaila
  • Zay El Hawa by Suhaila
  • Sahara City by Maelle Quintart
  • Khatwat Habibi by Suhaila
  • Hawel Taftekirni by Angelique
  • Gabbar by Angelique