“As a prelude to the anniversary celebration (of WoO) on Thursday, March 12th, Asmahan prepared an exquisite cultural treat apart from the mainstream…”
… “For the second part of the evening exceptional dancer Raksan performed her solo “Raksan tanzt! 46 Minuten”. … “In a style which can be called a modern form of oriental dance expression, this charismatic dancer outlines stages of her years of travel in a Mercedes truck and times full of glamour in the TIGERPALAST. The audience experiences her great energy, force and passion as well as her doubts and fears. A delighting performance which affects the audience and resonates long after it has ended.”

„… and the fantastical versatility of Cihangir, the organizer, left the audience amazed… if nothing else, his performance as a macho in the finale – a Roma-dance, which, with Raksan, developed into a magnificent dance improvisation bursting with sensuality.”

„The dance and celebratory atmosphere of Ofra and Malika’s anniversary show was rounded out by a sensation: Raksan’s Roma- improvisation. Raksan started in the audience, radiating such sensuality and female force that many a man felt helpless – not sure if he should throw her over his shoulder and take her home or rather keep a respectful distance. Her whirling skirt, her expressive hips and proud femininity made the auditorium tremble and brought the show to a brilliant finale.”

“… As someone who has always been fascinated by elaborate dance technique, today I must state: We should not always be talking about emphasis on technique – especially when Tribal is such an extreme and highly physical challenge – but also focus on the inner motions, motions that are intelligently converted into an outer form to make them understood and seen. Raksan, wonderful Berlin-based German expressive dancer (in every possible positive meaning of the term), at home in the world of technique as well as emotion, is one of the leading dancers who are able to do just that: On the road all over Germany, she is one of the most sought-after dancers and instructors who are able to transform and convey from the inside out. Even more so, since she created her own special “Impro-Workshops”, a synthesis of oriental dance, her years of circus experience as well as modern, jazz, and acting lessons, and, most importantly, her deep knowledge of one’s self… because of this, to me Raksan without question is one of the pioneers of Tribal(-Fusion) – even if she would not phrase it that way herself. How amazed was I when in 2002 I took part in her then still ongoing course – I will never forget: Overcoming the boredom of an all too familiar repertoire! I had even started getting bored with my own performances! Raksan has always been the innovative and wild oriental dancer of Berlin – and not only there. She already was the wild one amongst us at a time when we had not yet fathomed to even think that word in combination with our beloved, highly elegantly trained ‘classic oriental dance’.”

“Dancing to oriental and occidental melodies – sometimes smooth and graceful, at other times wild, with swaying hair – Raksan, who knows how to combine professional elements of jazz and modern dance with traditional belly dance. Her choreographies are sensual and intense – swaying hips, waving gowns, and flowing movements attract attention, and it seems as though she melts with the music.”

“The audience holds their breath…. “

“Oriental belly dance displayed in perfection.”

“Raksan – she, who commands the time-honored art of belly dance.“

“An astounding stage presence…”

“The most beautiful belly dancer north of Cairo!”

“Oriental dance of high professional quality and with the intensity of a sultry desert wind!”

“The oriental Grande Dame of vaudeville.”

“A priestess of oriental dance in the temple of cabaret. “

“Raksan virtually mows down the audience with her stage presence.“

“Raksan makes belly dancing socially acceptable again.”

“Raksan embodies all the wistfulness of the East as well as a diabolical art of seduction with her ‘Gypsy Dance’, which especially touched the female audience (sadly, not the same can be said for most male audience members). Her skirt and hair were flying, her whole body immersed in pure passion.“

“Raksan, an oriental dancer, applied all of her femininity to enrapture the audience. Her performances did not match the others in the sense that the comical element was missing – but she affected a sensual and sweeping atmosphere which tremendously enriched the evening. Raksan’s charm and professionalism were impressive.”

“… Magic. Suddenly she is wearing a loincloth and dancing a frenzied drum solo. If I spoke of technique during the first part of the program, this question does not seem to come up at all anymore. Raksan pulls us into the vortex of her life, every belly-flutter seems meaningful, quicker, faster, more, Raksan’s energy sweeps through the auditorium… Raksan dances in white, her wraparound skirt is used as a veil, a huge scarf attached to sticks catches the ever-changing light and envelopes it in an undulating sea. Raksan tells stories, carries you into different worlds, touches hearts – this is great theatre, vaudeville, opera – it’s more than dance. Every single scene seems like a painted work of art and the images weave into one story – and then the sabre comes – breathtaking.
Without any music, only to the rhythm of her own breathing and the moaning of the stage boards – interrupted solely by the sound of some solitary and perplex clapping by audience members who don’t seem to be aware of the intensity of the event or couldn’t wait – Raksan and her sabre stir the feelings.
Raksan’s dance closes with the brass bowl from the beginning of the piece, in front of which she kneels, like a priestess, immersing her head in the clear water which she then proceeds to splash around with her long hair. This does not only look beautiful, but also spreads some of her sparkling energy unselfishly amongst the audience. It’s hard to believe those were 46 minutes…!”

„Her teaching stile is very clear and once the building blocks of the dance are set she encourages the emotional side to be expressed ...
... Raksan brings a wonderful aliveness to her work- a delightful range of expression what she generously shares with everyone ...
... For me as a dancer it is vitally important to dance with meaning than with empty mimicry. Raksan brings meaning and depth to it in spadefuls!”

"At Majma Dance Festival 06 at Glastonbury we were treated to an image of a huge gossamer veil which caught the light and drifted delicately over the audience as Raksan ( a wonderful dancer from Germany) made her way to the stage. It was a memorable moment of beauty…and as Raksan let the veil to gently drop, we realised that this winged object of desire was actually a very thin sheet of soft plastic! What an extraordinary effect of flight from such a humble wings! A great innovation ...
Of particular note, Raksan brought an exiting and fresh approach to the dance with her intense embodiment of feeling, fusing middle eastern / gypsy stiles with contemporary dance."

“Dancing images in complex professional quality…
Raksan manages this to perfection: To her powerful, even aggressive music, she enters tall, long-legged and well-trained, a downright fighting machine. The extraordinary gold-black, belly-baring costume without a great deal of glitter and frills but with furry edging is superbly suitable to illustrate her dance. First, ‘Sachmet’ wears the lion’s head – then, off she goes! – The mask is dropped. In breathtaking speed, precisely attuned to the music, Raksan displays a mixture of modern, jazz, oriental, but particularly: Herself”…
“Raksan’s partially machine-like, hard choreographic elements are startling – the audience is motionless, tense. As added effect, the extensive, wildcat-like movements evoke the image of a charging lion. The short, powerful and large shimmies and exact arm-work are incredible: This has to be seen for oneself, as the audience later unanimously agrees on. At the end of her dance there is a deathly silence in the auditorium – a male voice whispers: “That’s unbelievable”, before the thunderous applause starts up.”

Dance production RE-GYPTA ( OASIS DANSE ENSEMBLE) Berlin `98

„Many possible and all kinds of impossible variations of the sabre dance are being offered in numerous shows. So far, Raksan’s version of the sabre dance in the female genre has appealed to me the most. In her leathery, earth-colored costume she presents a true expressive dance. Oftentimes a dance will drown in its choreography – in her case the choreography unfolds in her dance; a dance which not only focuses on aesthetics but on the sentiment. Not the magnificent acrobatics stand out because of their effect, not a motivated fighting spirit swings the sabre, not downplaying coquetry negates the weapon – Raksan truly has a relationship with her ‘dance partner’.
In the announcement to her sabre dance workshop it reads:
“The sabre is more than a decorative requisite. Treated with respect, the dance with it is a challenge to the expressiveness, tension and balance of a dancer. The ‘dance on the cutting edge’ draws its fascination not from the association to danger and battle, but from body control, concentration and a spiritual sensuality.” – Exactly!”

Show with the OASIS DANSE ENSEMBLE and Enussah in Nuremberg, January ‘03

„What distinguishes her style is not her wide range of motion repertoire, which includes many untypical movements because these have developed by themselves or out of a stage situation. Her important attribute is the combination of music, dance style and accessory paired with a great portion of dramatic expression.”
Portrait 03

“… Raksan takes over a solo part: with her typical Raksan movements, the highly interesting mixture of jazzy, modern and oriental ‘special sequences’; a style which meanwhile strongly influences the choreographies of the Oasis Danse Ensemble. Raksan’s unorthodox handling of music is thrilling as well: Like in modern dance, she does not feel the need to obsessively dance every part of the music, but rather revel in the courage of leaving gaps, the love for inaudible details and the impulse towards moving in silence. During the performance one feels: There is more meaning here than the pure aesthetic illustration of music. Between technique and interpretation, the person becomes visible.”
Premier of the "OASIS" – Production Oriental Motion in the Tanzhaus NRW/ Düsseldorf in February ‘04