Celebrating Joana Saahirah´s Online Dance School!

The Vision for Joana Saahirah´s Online Dance School was clear from the start.

I wanted to create a community of dancers interested in authentic Egyptian Dance, as I´ve learned it in many years of study and career in Egypt and work around the world, Self-Discovery & Empowerment. A space where each student could be herself instead of a follower; a school where competition gave place to COMMUNITY AND MUTUAL SUPPORT; a safe haven where all of us can learn, explore, fail and try again until we succeed.

I knew the students I meet, every time I travel to teach, perform and lecture, would benefit from a more consistent, in-depth, training with me and I was – always have been – passionate about EMPOWERING WOMEN TO DANCE AND BE THEIR BEST SELVES.

We opened our first class last May and we´ve grown immensely, since then.

All I can say, at the moment, is THANK YOU for your presence at the school, your support, trust and love. And, YES-YES-YES, this is just the beginning of a beautiful, personal, and collective, dream that will DIGNIFY EGYPTIAN DANCE and EMPOWER US (me included) to explore, and express, our true selves.

I´m honoured to have you at Joana Saahirah´s Online Dance School.

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Magical March @ Joana Saahirah´s Online Dance School

Joana Saahirah Online Dance School March Magic.jpg
March is here – where did time go? – and with it an exciting month of travelling, writing, researching, performing and teaching.
I´ll be in Morocco for the whole month of March, not sure if I´ll be able to teach, live, at Joana Saahirah´s Online Dance School. But, rest assured, ALL our RECORDED ONLINE COURSES are available for purchase during this month and the bonus material we offer with them, too.
So, dig in, and explore the treasure ark Joana Saahirah´s Online Dance School is.
All you have to do to access any of the following courses is to LOG in Powhow (www.powhow.com), go to the SEARCH BOX and write the name of the course you wish to purchase. The system will lead you from there.
Happy Dance, joyful March!, & see you soon!
The BASES of Egyptian Dance & Joana Saahirah´s method – Courses I suggest EVERY dancer takes:
*Egyptian Dance Nuggets – Polish your Technique – Level 1
* Egyptian Dance ABC & Creative Awakening – Level 1

*Egyptian Dance ABC & Creative Awakening – Level 2
*Egyptian Dance ABC & Creative Awakening – Level 3
*Egyptian Dance Nuggets – Polish your Technique – Level 1
*Arms & Hands in Egyptian Dance RECORDED Training
*Arms & Hands in Egyptian Dance – Romantic Choreography 
*Tabla Solo Discovery Journey – Level 1
*Silences & Pauses in Egyptian Dance Workshop
Eye-Of-Horus-Tattoo-Stencil-1Baladi Courses
Baladi Extravaganza Intensive Training
Baladi Extravaganza – Deeper into the Language of the Hips
How to choreograph YOUR Baladi Awadi (Progression)
Eye-Of-Horus-Tattoo-Stencil-1Egyptian Dance Rhythms & Tabla Solo Courses
Rhythms for Egyptian Dance Intensive Training – Level 1
Tabla Solo Discovery Journey – Level 1
Cairo Style Tabla Solo Intensive Training
Eye-Of-Horus-Tattoo-Stencil-1Om Kolthoum Special Courses
Om Kolthoum & Tarab for Oriental Dancers Introduction
Om Kolthoum & Tarab for Oriental Dancers – Level II
Eye-Of-Horus-Tattoo-Stencil-1Shimmy (Drills) Technique & Combos
Shimmy Wonderland (Drills Mastery & Marathon) – Level 1
Shimmy Wonderland (Drills Mastery & Marathon) – Level 2
Eye-Of-Horus-Tattoo-Stencil-1Egyptian Dance Folklore
Saiidi Technique & Combos – Level 1 (Egyptian Folklore)
Eye-Of-Horus-Tattoo-Stencil-1Special Interest Courses
Joana Saahirah Majance (Entrance on Stage) Choreography – Be a part of Raks My World Documentary
Egyptian Dance for the Stage Intensive Training
Introduction to The Secrets of Egyptian Dance Workshop 
Sexuality in Egyptian Dance – Unleashing Lilith Workshop

The Fear of Ridiculous & The Happy Monkey by Joana Saahirah


The Fear of Ridiculous & The Happy Monkey Exercise by Joana Saahirah.

Video dedicated to my students at Joana Saahirah´s Online Dance School; part of the bonus material offered with “Tabla Solo Discovery Journey – Level 1” Online, Recorded, Training available at Joana Saahirah´s Online Dance School.
Follow the link for more information: https://joanasaahirahworld.com/2018/02/08/new-tabla-solo-creative-discovery-series-joana-saahirahs-online-dance-school/


Saiidi kick-ass Performances for the Road

Saiidi image cocktail

The NEW “Saiidi Technique & Combos – Level 1” Online Training (live & recorded) is starting this week at Joana Saahirah´s Online Dance School (follow the link to subscribe: http://www.powhow.com/packages/joana-saahirahs-dance-studio/saiidi-technique-combos-level-1-egyptian-folklore)

Here are some kick-ass Saiidi performances that, I hope, will inspire you and warm you up for an amazing journey into the deep, authentic, Upper Egypt.

Joana Saahirah´s Saiidi tableau from her shows in Cairo, Egypt

Joana Saahirah´s Saiidi Workshop at Orient Addicts Festival, Poland

Joana Saahirah Saiidi & Tabla Solo in Russia

NEW Saiidi Technique & Combos – Level 1 – Online Training by Joana Saahirah

Enjoy this mad, zesty, fun Saiidi performance by Joana Saahirah in Cairo, Egypt, a part of the daily show she presented in the country for almost 8 years.

Saiidi image cocktail.jpgJoana has learned Egyptian Folklore from the hands of Mahmoud Reda, the Father of Egyptian Folklore and creative genius behind the iconic Reda Troupe. She also worked with the master as his teaching assistant.

Saiidi musicians in Upper Egypt.jpgIf you wish to learn authentic Saiidi – technique, cultural context, combos, full choreography -, feel welcome to subscribe to “Saiidi Technique & Combos – Level 1” by Joana Saahirah´s Online Dance School.

Follow the link for information (sign in; search for Joana Saahirah Saiidi, subscribe to this Class Package): http://www.powhow.com/packages/joana-saahirahs-dance-studio/saiidi-technique-comb

Saiidi Technique & Combos Level 1 by Joana Saahirah Online Dance School.jpg

“I can get no satisfaction!”


“In 1943, De Mille was hired to choreograph the musical Oklahoma!, which became an overnight sensation and ran for a record-setting 2,212 performances. Feeling that critics and the public had long ignored work into which she had poured her heart and soul, De Mille found herself dispirited by the sense that something she considered “only fairly good” was suddenly hailed as a “flamboyant success.” Shortly after the premiere, she met Graham “in a Schrafft’s restaurant over a soda” for a conversation that put into perspective her gnawing grievance and offered what De Mille considered the greatest thing ever said to her. She recounts the exchange:

I confessed that I had a burning desire to be excellent, but no faith that I could be.

Martha said to me, very quietly: “There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep yourself open and aware to the urges that motivate you. Keep the channel open. As for you, Agnes, you have so far used about one-third of your talent.”

“But,” I said, “when I see my work I take for granted what other people value in it. I see only its ineptitude, inorganic flaws, and crudities. I am not pleased or satisfied.”

“No artist is pleased.”

“But then there is no satisfaction?”

“No satisfaction whatever at any time,” she cried out passionately. “There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.”


Cohabiting with dissatisfaction is an integral part of the creative life.

No area of artistic expression escapes the grip of the Eternal Search, a state of happy unrest that keep us humble, with both feet on the ground, and eager for more. More discovery, more awakenings, more growth.

We are never done with our creative work and, as far as I can see, that is a good thing. Not quite reaching what we feel we can reach is precisely what keeps us interested, learning, thriving, walking towards our dreams.

Having ideas is easy – it´s the materialization of those ideas that separates the mosquitos from the eagles (NOT a fancy comparison, I know, but you get my point).

We can only do our best, right now, with talent and flaws, light and dark spots; keeping, as Martha Graham says, “the channel open.”

Being dissatisfied with the results of our creative work does not, should not, mean we dislike what we do. It means we´re aware there is road ahead.

I often ask my students to film themselves while dancing. It may not be a good idea to become a slave to the mirror or  the video camera but it is a good idea to combine inner exploration, with no need for external/visual proof, with an external, perhaps colder, perspective of our work. Learning how to watch yourself dancing is important – evaluating the points where you´ve grown – victories conquered – and the points you need to improve – victories in the making.

Enjoy the journey, deliver your best work possible, using the tools, experience and awareness you possess now, and let dissatisfaction pull you forward.

We do not dance, or live, to be perfect. We dance, and life, to be whole.”

Excerpt from Egyptian Dance Booklet by Joana Saahirah, soon to be published.



NEW Tabla Solo Creative Discovery Series @ Joana Saahirah´s Online Dance School

Joana Saahirah Tabla Solo in Delaware, USA Delaware was one of the cities included in Joana Saahirah´s USA & CANADA SOULful Tour.


Joana Saahirah performing in Japan

I´ve been dreaming about creating this Series of Online Courses since

Joana Saahirah´s Online Dance School opened its first class.

Three Tabla Solos with three different levels – level 1, the simplest, yet explosive, tabla solo; level 2, an intermediate level tabla solo and level 3, a fancier, more intricate tabla solo. In order to grow efficiently, dancers should take the courses by their right order: 1st, 2nd, 3rd.

Aside from offering kick-ass tabla solo choreographies, influenced by the live tabla solos I did, for almost 8 years, with my orchestra in Egypt, these trainings offer an insight into the CREATIVE DOORS Egyptian Dance can open, when properly taught. Students will rediscover their bodies, imagination and heart in ways they didn´t know existed.

NO PUPPET LOOKING CHOREOS INCLUDED. This is a series of courses for people who dance like people. Just sayin´… 😉

giphy (1).gifWild, game changing, FUN ride guaranteed!

Tabla Solo Creative Discovery – Level 1 

Online, live & recorded, Training

Suitable for every level, from beginner to advanced

WARNING #1: this is not your regular bellydance tabla solo. WARNING #2: this is more than a tabla solo choreography – this is a Creative Discovery. Are you ready to awaken your juices and take your dance, & self-expression, to a higher level?

Follow the link for more information: http://www.powhow.com/packages/joana-saahirahs-dance-studio/tabla-solo-creative-discovery-level-1

Tabla Solo Creative Discovery by Joana Saahirah Online Dance School

NOTE: all our online courses happen live, face to face with the teacher, and are recorded. Even if you miss the live classes, you have access to the recordings for unlimited time.

Joana Saahirah improvising a tabla solo with her orchestra in Cairo, Egypt.

The 4 Stages of the Egyptian Dance Path

4th stage of the Egyptian Dance Path: Spiritual


Your dance is as spiritual as you are.

(take that in for a few seconds; read it again)

If you´re not in contact with your invisible, energetic, spiritual dimension, you´ll feel challenged at this learning stage. If you don´t believe you´re more than a physical body, I´d doubt you´ll be able to dance from your soul.

This is probably the trickiest aspect of Egyptian Dance, one that teachers are often unable to articulate.

Spirituality is easily confused with religion, New Age mambo jambo, cheesy cults. It´s considered distant, exotic, unreacheable, weird, dangerous. We tend to fear what we cannot touch.

But, as I´ve mentioned, the spirit is who you are. You may identify with the physical body but that does not define you. Your soul does.

One of the most beautiful things I´ve observed, as a teacher, is how Egyptian Dance shows students the way to their soul. It takes them by the hand, smoothly, without them realizing it. It pulls them up naturally. Inevitably.

I use specific methods – pedagogy – to open up their physical, mental and emotional bodies but, if all the other stages are properly developed, the spiritual realm takes care of itself. It flows like water running from its source towards the sea. Nobody needs to push it, or show it the way – it knows how to get to its destination. That´s exactly how I´ve witnessed the arrival to this 4th, and higher, stage of the dance path.

We start from the ground, focused on our physical body; we move upwards, and forward, integrating the mental stage which will be followed by the emotional stage.

Sooner or later, if you keep going, you´ll be lead to the spiritual stage.

I´d go as far as telling you the first 3 stages require work, focus, proper guidance, discipline – you don´t go through them without effort or a professional, awakened, teacher.

The 4th stage is effortless – it´s a flower blooming under the sun; an ascension that feels like falling; a consequence of the work you´ve done from the ground. The 4th stage is the blooming of the flower after you´ve planted its seed and watered it. If you show up to fulfill your gardening job, the flower will bloom by itself.

It´s the most beautiful show on earth. Few things give me as much pleasure as watching my students bloom into this 4th stage of development – watching them return home, finding peace and solace in their own essence.

Once they reach this stage, they can never go back to superficiality or lies about themselves and the dance. Once they´re at the top of the Pyramid, they see the Big Picture from above. Their feet may remain on the ground but their dance belongs to the Universe – they become a Bridge between Heaven and Earth.

The question is: the top of the pyramid is a lonely place. Few ever get there.

Are you willing to climb, only to discover you´re up there by yourself?”

Excerpt from “The Egyptian Dance Booklet” by Joana Saahirah