I began learning oriental dance in 1997 with Tia, who was one of the first teachers to teach classical Egyptian bellydance in Hungary, and who became one of the most influential personalities and master teachers of my life. I had learnt jazz dance and flamenco earlier, and I have been performing on stage since I was twelve. Because of my Spanish origins on my father’s side, music and dancing has been part of my life since the very beginning, and today they fill it almost completely.
At first, I was attracted to bellydance by my excitement about Arabic music and culture, the egzotic depth of the magical world of the East, which seems to be indecipherable for the European eyes. For me, it was always Egypt which embodied this concept the most, where, inside the Arabic world, the ancient, mithical worldview and the liveliness of the modern world is merged most evidently enriching its culture with lots of nuances. Just like the Arabic culture, the Arabic music and oriental dance itself is exceptionally colourful and diverse. All because of this, I was excited by the deeper layers of the dance from the beginning, as the dancer becomes the inpersonation of an ancient and eternal existence, while she becomes more and more able to live her everyday life to the fullest.
I have been performing regularly in my home country since 2002. I have participated in several tours with the Afro Magic band, I have performed in several elegant Arabic restaurants in Wien, and with the Art of Orient dance group we were guest dancers in Hannover and in Egypt too. I have also been a solo performer at the Ahlan Wa Sahlan international belly-dance festival in Cairo for three nights. Besides, during the years, I have also performed at several festivals and programs in Budapest and all around the country. From April 2005 on I have been the dancer of the Moulin Rouge of Budapest for two moths. From April 2005 to the autumn of 2006 I was a regular performer with a live band in Persepolis, Vienna, which is an elegant Persian restaurant, and in Mirage, Vienna, which is a Lebanese one.
At my very first competition – Raqs Sharki 2001 National Oriental Dance Competition – I have won the audience prize, and in 2004 I have won the professional category of the Raqs Sharki National Oriental Dance Competition, so I had the opportunity to participate in the fairly prestigious MEDINA (Middle Eastern Dance In North America) competition, which took place in St. Louis, Missouri, USA, where I was honoured by the first prize, which I received with more then the 80% of the audience votes. As a consequence, I received invitations as a teacher and as a performer to many American cities for the next period, and I could also take part in the master trainings of Youssry Sharif, Egyptian master teacher during that autumn in New York. Also, at the Raqs Sharki National Oriental Dance Competition in 2004 we won the first prize in the Group Category and the prize for the best coreography with the Art of Orient Dance Group. In the summer of 2006, I succeeded to be among the winners of the competitions of two different bellydance festivals in Egypt (Ahlan Wa Sahlan Festival, Cairo, and Nile Group Festival, Cairo).
Since 2007 I have been performing and teaching abroad frequently, for instance, in Barcelona, Vienna, Belgrade, Graz, Havanna, Ljubljana, Stockholm.
I have been involved in the genre of dance theatre since 2005, my performances include: Holdkelet (MoonRise) – Andalous Dance Scenes (with the Art of Orient dance group, Merlin Theatre) En Trans (with Krisztina Németh, Merlin Theatre, stage director: Eszter Kárász) RITUALE 2008 (with the Világtánc /World-Dance/ Project, National Dance Theatre; stage director: Szabolcs Makai) FEHÉR (WHITE) (with the Nymph Oriental Dance Company and Judit Komáromi – Nese, on stage of the Fortress of Monostor in Komárom, in Vaskakas Puppet Theatre in Győr, and in Merlin Theatre), and also, I took part in creating the musical Life Is Magic! – Nofretete as a coreographer (Chamber Theatre, Budapest; stage director: Béla Árvai).
My dance is dominated by classical and modern Egyptian stylistic features. Abroad, my teachers were the following: prof. Hassan Khalil, Hadia, Lubna Emam, Faridah Fahmy, Yousry Sharif, Aida Nour, Freiz, Tito, Nagwa Fouad, Dina, Nour, Osama Emam, Raqia Hassan, Mo Geddawi, Mahmoud Reda, Mona Said, Soraya, Magdy El-Leisy, Lesya Starr, Momo Kadous. Even from the great Egyptian master teachers I have not learnt as much as from Hadia, the Canadian dance artist, who knows the Arabic world very deeply, and has been dancing raqs sharki for more than 30 years. She has not only taught me the incredible diversity of oriental dance, the inherent possibilities for expressing emotions and interpreting thoughts, but also the deepest and the most truthful existence in dancing. At her side, prof. Hassan Khalil and Lubna Emam, Egyptian master teachers, inspired me the most. Thank them the endless knowledge and love what I've got from them.
I consider continual learning very important, as oriental dancing is a living and continually changing form of dance, which exists at several points of the world in several varieties, and it might be impossible to explore it completely. For this very reason, it is really important to gain as wide and diverse knowledge as possible.
In the spring of 2007 I have founded my own dance company by the name of Nyph Oriental Dance Company with the participation of my most talented advanced students. The troupe consists of 13 members,and as a result of the intensive training, we have won a series of competitions so far (Raqs Sharki – National Oriental Dance Competition, second winners and the winners of the Best Coreography Award in two succeeding years, in 2007 and 2008, second winners at the international competition of Nile Group Festival in Cairo also in 2007 and 2008, first winners at the Nefertiti Charity Competition in 2008, etc…) . The group has also taken part in some theatrical projects like Southers Nights (Downtown Theatre, Budapest), Life Is Magic! Nofretete (musical in the Chamber Theatre of Budapest), and WHITE (oriental theatrical dance performance, Merlin Theatre); and it has performed in Vienna, Cairo and Transilvania as well.
The more deeply I study oriental dance, the more I admire the richness of its formal expression, as it is able to translate all of the human feelings and controversies from the simplest to the most complex emotions. I see dance as a type of communication among worlds, people, moods and emotions, so in performing I am directed by concepts and the willingness to share.
Workshops and performances abroad: Egypt, USA, Spain, Cuba, Germany, Sweden, Austria, Latvia, Poland, Slovakia, Serbia, Slovenia, Romania.
