Hilal dance

Press Reviews

"...Absolute poetry"
(Stuttgarter Nachrichten)
"A performer of rare magnetism, Suraya Hilal held the audience spellbound."
The Ham and High
"Every thing about her dance suggest authenticity – she is born a communicator"
The Stage
[In Oscillations] - "Hilal has the ability to cast hypnotic spell with the simplest of movements; a solitary gesture or an intense gaze...to watch her perform is to see music."
(Metro) Keith Watson
"A guest appearance by Egyptian Suraya Hilal showed an earthier, more authentic quality in her solo – one step back to the folkloric roots of this dance form."
Dancing Time Magazine, 2007 in Sadlers Wells
"[In Aseel] Suraya Hilal has gone back to the roots of Baladi ... but at the same time one also recognises elements of free dance and of contemporary modern dance in the movements, which almost always flow gently."
"It is thrilling that she not only never loses contact with the live music but lets her body breathe as one with the sounds of the accordion right to the smallest nuance, and dances the accents of the percussionists in pure understanding."
Westdeutsche Zeitung 28.02.05, Klaus Schmidt
"In Aseel a duo performed by Hilal and Alessandro el Bascioni ... the pair created what might perhaps be called harmony at a distance. The contact between the two remained limited to the eyes throughout, their bodies never touching. But the movements of the woman mirrored those of the man and vice versa, an unaffected, joyful cooperation evolved, no game of contradictions pressing for resolution".
Westdeutsche Zeitung 28.02.05
"In lively dialogue with their three musicians, who are positioned at the back of the stage (percussion: Ibrahim and Ali el Minyawi; accordion: El Gamal), Hilal and el Bascioni show subtle games of enticement, elegant double forms; supreme ease paired with discreet sensuality."
Rheinische Post 28.02.04 on Aseel
"Suraya Hilal, Marie al Fajr and Alessandro el Bascioni move through space with upright, elegant steps. Moods change with the music and the authentic, multi-layered garments, and the seemingly feather-light solos, duos and trios are filled with dramatic tension. The canon of movement of the dance is so rich and complex that the choreography dispenses with the use of scenery-and rightly so. Suraya Hilal has a love of the abstract, purist dance, which has at lease as much to relate as the tales from the 1001 Nights."
Westdeutsche Zeitung-B Trouwborst, Feb, 2002 Al Janub
"Hilal captivates the audience with a sublime sensuousness and purity of movement, giving visible expressions to the timelessness of ancient tradition."
Reinische Post- G. Pölert, Feb, 2002 Al Janub
"With her transformation of age-old traditions into modern form, Suraya Hilal seems to have struck a primeval nerve, opening up new dimensions to the audience. Sensations of the physical and temporal distance mingle with a reassuring feeling of security."
Tanz Oriental- R. Möhr, April 2002 Al Janub
"....Suraya Hilal gives to what it was a simple dances of the village a universal character. Majesctic, rooted, earthed and centred, the three dancers, they evoke characters of the frescoes of ancient Egypt, communicating an energy, all with subtlety."
L'Exspress Magazine 2002 Paris
"Hilal through her choreographies expresses the depth of Egyptian culture whether from the South or the North. She has succeeded through movement to combine cultural/artistic expression with social mores."
Al Ahram, 1997 in Spirit of the Heart
"The eyes of the house clung to Suraya Hilal with her magnetic charisma."
Kopenhagen, Information 1997 in Spirit of the Heart
"Extraordinary African trance dance in which Hilal wheels about the stage, her loosened hair flicking back and forth and her long skirt billowing around her like the wavy bell of a petunia"
The Independent, 1997 ( Spirit of the Heart)
"Suraya Hilal's movements are tremendously exiting, not only for the skill, grace and stamina that go into them, but for the way she can change the mood at will."
The Times 1993 on Colors of Cairo
"When Hilal dances Baladi, one can see how uniquely the dance blends sensuality with form and sophistication. Her body earthed... yet at the same time, she articulates a dazzling complex of rhythms and counter-rhythms."
The Independent 1992 on Colours of Cairo
The audience exhale in unison as the other musicians strike up in celebration. Suraya Hilal is a unique phenomenon."
The Independent on Sunday, 1992 on Colours of Cairo Sue Gaisfort
"The audience exhale in unison as the other musicians strike up in celebration. Suraya Hilal is unique phenomenon".
The Independent on Sunday 1991 on Jewells
"Watching Hilal is like watching the music dance itself."
Al Arab newspaper, 1991 on Jewells
"A highly sophisticated form of dancing...."
The Observer 1992 on Jewells
"Suraya Hilal is not only a remarkable dancer, she does work of outstanding value in re-establishing ancient traditions of the Middle Eastern dancing in all their complex refinement as well as being a highly creative artist in this field."
The DailyTelegraph
"She engendered a feeling of unity among humanity."
The Stage and Television Today 1990 Divine Rites Sadlers Wells
"Everything about her dance suggests authenticity and she is certainly a born communicator."
The Stage and Television Today 1990 on Divine Rites Sadlers Wells
A dancer of great charm and delicacy and a consummate show woman, Suraya Hilal banishes the cartoon image of Egyptian dancing."
Time Out 1990
"The evening was dominated by swirling colour, curious sound and exhilarating movement...it had humour, exciting choreography and a wide range of emotional expression to commend it."
The Arts Guardian on the Celebration of the Nile, 1989
"... the natural ease with which the dancers and musicians combined indicated the power of common folk roots. The amalgam of dance and music crackled with vitality; despite all the cultural pressures, it was self-evidently part of a living tradition."
Kenneth Ansell, from the Law, 1989
Hilal’s versatility does not just depend on dance invention and physical discipline, it is also rooted in her authority as a performer. She can unite a packed Queen Elizabeth Hall in hushed concentration, then with a wave of the hand provoke a riotous clapping"
The Independent Judith Mackrell, on Jewels, 1989
"Suraya Hilal's movements are tremendously exiting, not only for the skill, grace and stamina that go into them, but for the way she can ghange the mood at will."
The Times 1985 on Return of the Spirit
"Suraya Hilal evokes so many moods and tempers - a supremely gifted performer."
The Guardian
"The rapport between dancer and musicians was an added joy. Suraya Hilal is a choreographer of subtlety and high skill and a dancer of quality. An exhilarating evening ...
The Times, 1985 John Percival, at the Commonwealth Institute concert
"Suraya Hilal is the spirit of dance and she has mastery of both performance and knowledge."
The Daily Telegraph, Edinburgh Festival 1983
"What Hilal has done is to master a technique of this style to perfection ... her treatment of this pre-Islamic style has its own purity and nobility, reflecting the ritualistic origins."
The Scotsman Edinburgh Festival 1982
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