Tag: Education

A Dancer, Two Hostage Governments, and a Pizza Place

So thanks to the Binational Fulbright Commission in Egypt, this week I am attending the 36th Annual Fulbright Conference in Washington D.C. The conference is taking place near Capitol Hill. And the government is shut down. Not a lapse of appropriations, but an actual government shutdown. Only other time that happened was 1995. And this is the first time it is happening by a refusal to fund passed legislation.

With The Sequester, Benghazi, plus The Shutdown, the US has closed 19 diplomatic posts in the Middle East and South Asia. Fulbright program has been cut by 1/4th. United States Institute for Peace (USIP) and Wilson Center have been zeroed out.

Heart. Sink.

Public employees and civic heroes across the land are working for no money. Places and services severely hindered or completely unavailable. No museums or parks. But the DC Jumbo Slice experience is hot and ready 24 hours.

In today’s opening session at the conference, Congressman Jim Moran (VA) spoke generously, and then he rushed back to the irrational Hill. He started out by apologizing for the government and said that what was happening was inexcusable. As he was speaking and I was taking notes, the lines between Egypt and America started to blur in my mind. I knew he was talking about one country, but his ideas could easily be describing the other.

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  • Our government has ground to a halt on the basis of ideological fundamentalism.
  • Should we make the Presidential election the referendum?
  • A conservative fraction that is inexperienced politically
  • They cannot be challenged electorally. They represent an ideological point of view and the more extreme you get, the safer you are.
  • Taking the government hostage
  • Isolationist and anti-government
  • The military industrial complex
  • How to appropriate the funds from the spoils of war
  • Military funding strong but diplomatic efforts stripped
  • [Speaking to the Liberals, Artists and International Scholars] “Thank you for being who you are.” “You got to engage! Get out of your comfort zone. You are more numerous than you think. We need you. desperately. now.”

Now you might ask what a dancer is doing writing about governments or politics. You will understand in a minute. Keep reading.

At the conference, we are talking about Education. Brandon Busteed of Gallop explained that the top two reasons people say a post-secondary degree is important are…

1. To get a good job (however you define “good job”)

2. Make more money

*Note that in the mid-1960s, the top answer was “to develop a meaningful philosophy of life.”

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There are many ways to define a “good job.” Dr. Angel Cabrera, President of George Mason University, told us he defines a good job as one you would want your children to have. I thought of my parents. They would probably at-first say they want me to have a good paying job, financial security, health insurance. I am currently uninsured and was for years earlier in my career. Luckily, I live in Egypt and have access to affordable care.

Beyond the salary, my parents they would probably add something about a job that makes me happy, puts my talents to use in the world, offers opportunities they never had, keeps me dancing, and keeps me physically safe. And to be on that road to a good job, I had to go to college. I was the first person on either side of my family (and remain the only one) to attend a 4-year university. The only one to graduate. The only one two live abroad. Twice. The only one with a Masters degree. I am the only one in the arts. My family contributes so much to this world and their paths are all different (community leadership, nursing, technical training, sports, retail, faith, parenting), but Academia and the Arts Academy haven’t been a part of their lives.

I am not here as a representative of Academia or the Arts Academy. And I am not talking about the arts conservatory model. That’s not my interest. I’m not talking about e-learning, or blended learning. Or a form of education delivery that can often morph into something elitist, expensive, pretty, insular, history-focused, antiquated, and disengaged from the real world. I’m not talking about what Dr. Cabrera referred to as our “romanticized” ideas of the liberal arts classroom. Because many of our classrooms and conservatories have little to no quality human interaction in actuality.

I am responding to Congressman Moran’s call for agency. “Thank you for being who you are.” “You got to engage! Get out of your comfort zone. You are more numerous than you think. We need you. desperately. now.”

And the idea I am speaking about is  redefining a “good job” both in Egypt and the US. Helping families and students define it for themselves. Help governments, investors, entrepreneurs, educators, and funding bodies create “good jobs” and “good education” to match. Appropriations and programs to match. Especially in the arts, in dance.

I am saying that if we focus on Dance History , we also need to offer Dance Present and Dance Future, Dance Diplomacy and Dance Civics.

Someone needs to start fixing what’s broken in our two countries. It might as well be dancers.



P.S. Getting a replacement camera next week. Next blog post will have pictures.




Teaching to the Test

When I first walked in to the Academy of the Arts, High Institute of Ballet, I had some reservations about the facilities and was honestly intimidated by the prestigious reputation and name.

I have never been known for my technical prowess, but I am a passionate and strong dancer. Still at my age of 34. And I do pride myself on being a dance artist invested in areas of civil society. I bring dance to people in order to help with illness such as cancer, to help divided communities in places such as Belfast and Bosnia, prevent and reconcile conflict, reform education, build trust across religions and cultures, help the human development of teens, toddlers, leaders, professionals, and elders.

To help people find new understanding of themselves and their crazy world.

To help people find some joy and freedom.

Photo by Mohamed Radwan


After three months of teaching here in Cairo, both friendships and pedagogical differences have surfaced.

In November, I was told to choreograph a 30min modern dance performance for the students and to help them rehearse. The performance would be in December. A nearly impossible task given the circumstances. But we kicked into gear to make it happen. Then classes were unexpectedly moved to an hour earlier and a half hour shorter. Then I was told the emphasis should be THE EXAM and that the performance may be in January. Or not at all.

I was frustrated. I admit it. But you see, the Ballet Institute itself is at the whim of the umbrella Academy and the Ministry of Culture. When they found out things, they let the staff know. And they put signs (in Arabic) all over the hallway walls in order to inform people. My Arabic was not nearly strong enough to follow developments.

No other faculty member seemed concerned over these changes. I was the one having to learn to be much more flexible, more of a team player dealing with things as they come. A hard but good lesson.

The faculty and administration are also not worried about safety, like in the U.S. Gun violence is of no concern. The dance faculty are also free from the major issue facing educators in Egypt…class size. With a population this booming, a class of 30-35 is a dream come true. Sometimes repetition and precise testing are the only ways to reach hundreds of students.

Back to the Institute of Ballet. For THE EXAM, there are certain ways this is traditionally done here. The dancers are assigned places, with the strongest students in front to lead. The exercises should be well-polished, set to music, and require no cueing from the instructor. The students will be wearing numbers and a panel of examiners will sit at a table in front. Very Flashdance. Each semester, the technical exam is worth 50 points, for a total of 100 for the year. The students pass to the next level with a score of 70 or more for the year.

My Fulbright grant only covers me teaching here for the Fall semester. So I wanted to have as big an impact as possible with the 50 points I was responsible for.

I was asked to bring new moves as well as new thinking. So that’s what I tried to do.

5 points – Two writing assignments: a letter to me on how they feel dance is important here in Egypt after the January 25th Revolution, as well as a review or research on Alvin Ailey, Twyla Tharp, Urban Bush Women, BattleWorks, Hubbard Street Dance Chicago, Akram Khan Dance Company, or any modern dance organization in Egypt. Prior to this assignment, the students were unfamiliar with any of those names.

5 points – Class attendance, conduct, and participation.

5 points – Performance Routine we had been practicing for the performance that may or may not happen.

35 points – THE EXAM on December 30th

And I made an actual rubric, breaking down each of those categories for the students to understand what I was getting at. Normally, I would like to create the rubric with the students, but time and resources were short. And there is no translator.

Year 8 students in Modern Dance class at Egypt’s High Institute of Ballet in Cairo.

And now THE EXAM is a week and a half away.

Yes, what I am working on with the students is somewhat polished, set to music. But I have the dancers rotating lines with every exercise, so every student is responsible for being a leader at some point. I have faith in them.

And I gave solos to students I saw as struggling but with potential to grow as a performer if they were pushed out of their comfort zone and into the spotlight.

And there will be improvisation task. No, I will not give them the instructions a week earlier as co-teachers requested. It will be true improvisation and might completely flop. But the students and I been practicing with the structure, so I think they are up for the challenge. Cross your fingers.

Yes, this will all be messy. Yes, it may not look too impressive to the examination panel. Yes, I have been (and might continue to be) openly criticized for not being a strict enough teacher and not pushing the best students.

But it is my sincere hope that during my time here, I have had a great impact. That each and every student learned something.

Taking risks,

stepping up,

being humble,

caring for their peers,

listening beyond the language,

respecting a foreign movement vocabulary,

dancing with their full selves,

finding value in clean technique over tricks,

and finding a role for themselves as dance artists in an ever-changing nation.


And on my way out of the Institute after class today, I saw this:

On a walls in the High Institute of Ballet.


***The views and information presented in my blog are my own and do not represent the U.S. Department of State or the Fulbright Scholar Program.

Back to School, to Calm, to 5773

Yesterday, Cairo woke up to clearer air and birds chirping.

A calm, enforced.

P.S. My suggestion for Egypt for the next flare up… more female police officers on the beat.

While chaos erupted this week, I believe Morsi made one public speech, maybe two. But he never returned from his trip in order to stand here. He stayed in Italy and was pretty much AWOL. That seemed quite odd to me. Despite the lack of President Morsi, Cairo cleaned up. Some lingering protestors were arrested. Cats came out to pick through all the garbage. And Tahrir Square was wiped bare. “Cleaner than before the revolution,” a woman told me. Trucks took away the beds, tents, chairs, and full set-ups people had arranged.

Then today, Sunday the 16th, Cairo went back to school. With a population this massive, you can imagine the impact that would have on the squashed cars on the street and buzz in the air. Today is also the start of the Jewish Near Year. To all my friends celebrating, I wish you a peaceful and joyful year 5773. Shana Tova. Actually, I’m hoping for a peaceful 5773 for us all.

This morning, I took the train out to the dance academy in Cairo where I will be teaching. This school is a little bit special, runs through the Ministry of Culture, and starts next week. I do not know the religion of my soon-to-be-students, but can guess that they will be of mixed faiths. Some of the young teen students were already on campus today, rehearsing for their brief moment in the spotlight in Aida at the Cairo Opera Ballet next week.

The Institute was being scrubbed down by the custodial staff. And no matter what they did, the space seemed to be resolutely dreary. No colors or posters. No repair, because a new building will eventually be erected after the music conservatory is completed. As the daughter of a public school custodian, I’m trying with difficultly to hold off judgement. I am opening myself up to the wonders of this place that so many students desire to get into. This is the first school in Cairo that I have seen. I have no idea how it compares. In Morocco where I visited a school last year, the poverty was less intense than here; the biggest flaw I saw was that they were teaching Feminism in history class.

Back in Chicago where I come from, teachers are on strike. They are demanding more resources and better conditions for their students, with less standardized testing. As a person who worked in Chicago Public Schools and Saginaw Township Schools and read Kozol’s “Shame of the Nation” twice, my knowledge of educational reform in America is recognizably greater than that in Egypt. Cannot wait to learn more.

I will now share will you photos of the school here in Cairo. Without comment and without much knowledge of the place. What I do know is that the students and faculty all seem quite proud to be here.

Laughter fills the halls and studios already.

Classroom for academics or music theory.

Classroom for academics or music theory.

“The Principal’s Office”


Floor damage.


***The views and information presented in my blog are my own and do not represent the U.S. Department of State or the Fulbright Scholar Program.

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