HC: You are a very versatile artist, and yet, if we were to describe your dance style to audiences who haven’t yet seen you, how can we convey the essence of Aszmara’s dance and creative mission in words?
Aszmara:
HC: What was your path to becoming a dancer? Has dance always been your main artistic love and profession?
Aszmara:
HC: What styles of dance and music attracted and influenced you in the beginning and in the course of your performing and teaching career? And what other factors shaped you as an artist?
Aszmara:
HC: In the personal sphere, what has dance given you? Is your dance work connected to a personal philosophy, does it carry and convey your views as a social and as a spiritual being? Has your dance career ever affected any personal choices you made in your life?
Aszmara:
HC: In the fluctuation of trends on the bellydance/Oriental dance scene, do you see new phenomena that will affect your dance work in years ahead?
Aszmara:
HC: You’ve toured performing and teaching workshops in the US, in Europe, and the Middle East. What genres, styles, rhythms of dance, themes, and props do you include in your tour concerts? Do your programs vary depending on the country/audience for whom you are performing?
Aszmara:
HC: Tell us about your experience being an artistic director of SaZ Dance Theater. SaZ’ amazing colorful fusion performances in NYC theaters in the 90s are recalled as both groundbreaking, innovative and timeless. What made Saz such a powerful artistic phenomenon? Using the language of dance theater, what was Saz communicating to its audiences? [Aszmara, can you send me a couple photos from Saz productions for the article?]
Aszmara:
HC: You offer classes and private coaching in a wide range of styles and rhythms of bellydance, in technique, expression, use of props, choreography. What areas of your expertise seem to be most in demand with students? Is this demand evolving? Was it the same 10 years ago?
Aszmara:HC: Tell us about your new class for Mothers and Daughters. What program do you offer in this class, and what are peculiarities and challenges of teaching Oriental dance to children? How do you involve mothers?
Aszmara:
HC: You teach a prenatal and postnatal bellydance course. What benefits do your students seek and experience while bellydancing during pregnancy? Does it attract women who are new to bellydance? Are there any psychological benefits? Can you give us examples of adjusting the bellydance vocabulary and instructional method to the requirements of pregnancy?
Aszmara:
HC: From your experience as an instructor, what elements of Oriental dance are especially elusive - in technique, rhythm, or expression?
HC: You have a phenomenal stage presence and a magnetic persona: Is this a skill? Can it be taught? What does it take to develop a powerful stage presence and projection?
Aszmara: