As Printed in the Quarter 4/2004 Issue of The Belly Dancer Magazine
Dancer to Dancer - Margo Abdo O'Dell
As Interviewed by Oberon
(Photos by Carl Sermon, Barry Brown, and Kevin Peterson)
BIOGRAPHY - MARGO ABDO O’DELL
The rhythms and dance of Margo's Lebanese heritage underpin her unique style and repertoire that she has developed over twenty years of training and performing Middle Eastern dance. Margo's incomparable essence permeates each performance as she artistically combines sophisticated dance technique with innovative interpretations of Arabic music. Reviewers have called her "fiery, charismatic, exciting and inspirational." Whether the piece is traditional, contemporary or experimental, the audience is invited into the experience. There is something unique about her performances - audiences can tell this dance is in her blood!
Margo's formal dance training since childhood included ballet, tap, jazz and modern dance. Yet her heritage paved the way for further aesthetic curiosity and exploration. Involved in the dance program at the University of Minnesota while pursuing a degree in Industrial Organizational Psychology, Margo found her first formal Middle Eastern dance class. The classes Margo took from Selwa Raja, a Yemen native, transformed her from a modern dance enthusiast to a Middle Eastern dance devotee.
Margo continued to hone her craft through continuous instruction from the most talented dance artists/choreographers from the Middle East and America. A partial list of those inspirational instructors include Ragia Hassan, choreographer to Egypts top dance stars and former member of the Reda Group; Nadia Hamdi, one of the most famous contemporary Egyptian dance stars; Jamila Salimpour, a pioneer of Middle Eastern dance in San Francisco, California; Elena Lentini, dance artist from New York City; the late Ibrahim Farrah, director of the Near Eastern Ensemble in New York City; Cassandra, director of Jawaahir Dance Company in Minneapolis, Minnesota. Margo has supplemented this instruction with travel to Egypt and Morocco. The result of her intensive study is a personal interpretation of the dance that is spontaneous, sensual and strong.
Performance Highlights
Throughout her career, Margo has performed in ethnic nightclubs, with the Middle Eastern Folk Ensemble, as guest artist with Jawaahir Dance Company, and as a soloist at numerous ethnic festivals, celebrations and theater venues. Recently, she was the pioneering Middle Eastern dancer/choreographer selected to perform in several artist showcases, most notably two appearances at the Choreographer's Evening sponsored by the prestigious Walker Art Center in Minneapolis. Audiences and colleagues around the country have recognized her work with the International Academy of Middle Eastern Dance's (IAMED) award for "Best Modern Egyptian Dancer" in 2001 and nomination for "Instructor of the Year" in 2003. Margo has produced two evening length concerts in Minneapolis. Tajdeed was presented on June 14-16, 2002 at Intermedia Arts and
Women's Voices was presented on May 8-11, 2003 at Red Eye Theater. Her third concert, Evolutions, is planned for September 9-12, 2004
Quarter 4/04
DANCER TO DANCER with Margo Abdo’ O’dell
As Interviewed By Oberon
The first time I saw Margo Abdo O'Dell dance was at Rakkasah. I was taking a break from the all day action, with my friends. We were in the tiered bleachers, high above the stage, when I noticed a lithesome figure enter below dressed in pantaloons and tunic with a long head scarf that glittered in the stage lights. Music broke strongly over her and she began to Debke, all by herself on that huge Rakkasah stage. An unusual hush fell over the giant auditorium below us and I can't think that anyone looked away until she was completely done. When that happened, the crowd let go an approving roar - amazing how years of study, connection to the culture and love of the dance can come together to produce 15 minutes that will stay in peoples' dance memories forever.
Subsequently, I spent an afternoon with this delightful artist, laughing and talking over an immense Chinese feast while discussing her dance philosophies and her balancing of intertwining cultures, (Lebanese and Irish), in these perilous times in which we live. I've studied with her; she is an impressive and effective teacher.
At first a reluctant performer, she now seeks to take our living dance to other levels, but don't call this strong, fiery artist - "Belly-Dancer", to find out why, join me for an on-going journey into Margo Abdo O'Dell.
O. Margo, was Middle Eastern Dance your first dance experience?
M. No. I started out with ballet, tap, and acrobatics as a child, and in college, Modern Dance. It was during that time, a woman from Yemen came onto campus to study for a year, and she literally blew my mind. Modern dance had come to a place where I felt it was moving away from femininity and being all about throwing your body around the floor. This woman from Yemen was very conservative but she wore fabrics from her home land and draped them in a way that I found stunning! I of course, was immediately drawn to something that was already in my blood, but my parents at that time, wanted to appear completely American and so had not shared or encouraged a lot of old family traditions or appearance.
O. How did you begin the study of this dance?
M. With a blonde pharmacist, Connie Johnson. She taught through community education. My Aunt and Sister and I all took classes. It started out as a complete hobby. Eventually Connie quit to teach aerobics. I was friends with Cassandra, (of American Dancer Fame), so she became my second teacher.
O. So it was through her that you began to perform?
M. (Snickering) Actually, someone in my Mom's old neighborhood had a big Lebanese wedding and my Mother offered me up to dance! I went to the traditional Lebanese house of Mr. Simon to interview to dance at his daughter's wedding. About all I was really familiar with was George Abdo and Eddy the Sheik. Mr. Simon and his sons played Oud, Nay and Tabla. However, it was extremely meaningful to me to be part of this event from my own community.
O. So your Mother got your first gig?
M. Yes, and it so happened, that the leader of the band at the wedding, a man called Joe Khoury, had just opened a restaurant named the Port of Beirut. He asked if I would consider becoming the dancer there on Friday and Saturday nights. Two shows eight and ten-thirty P.M. I accepted - and the Lebanese community came out in droves. All I knew well were a few pieces of music - so, it was baptism by fire! I began to truly study music through that band. Joe was Lebanese and sang and played oud. Salah, the violinist was Egyptian, Victor was Syrian, he played riqq and sang and Karam, Lebanese, played tabla. That started an 18 year dance career at that restaurant. I just kept dancing, doing half hour shows at each performance.
O. Was that your only venue during the 80's?
M. More opportunities opened up. Another was a Greek restaurant where Cassandra danced. It was a whole new experience - dancing to songs like Aziza, played triple time, while playing zills all the way through. There was an overhang in view of where I danced and a clock hanging underneath it. I dared not finish one minute too soon or I would upset Papa George. I also had to stay after performances and visit with the customers.
O. Were you continuing to study at this point?
M. Always. I loved the dance and knew just enough to know there was more. I was beginning to connect to the cultural arts of my family. I took my first "out-of-town" workshop with Jamilla Salimpour and learned so much that I was like a "pig, wallowing in poop". It was the first time that I could see that choreography could make you a star.
I took another workshop, in Las Vegas with Bobby Farrah at the MGM hotel. Also teaching were, Ozel Turkbah, Dahlena and Aida. Oh wow! All these professionals performed in one show. I continued to take workshops from Bobby a handful of times.
O. Were you teaching yet?
M. You know, I didn't want to teach because I knew it was a whole other thing. Cassandra really talked me into it. It was much, much more of a joy than I ever thought possible. I didn't realize that it would be so rewarding. I taught at Cassandra's studio for 10 to 12 years. I still find it rewarding and challenging...to include things that will fit all levels.
O. What are your basic philosophies concerning teaching.
M. I've noticed that some teachers think there is only one right way to move. I am not interested in turning out a bunch of Rockettes. I am very much about the individual. I feel my job is to teach technique, to give my opinion about boundaries regarding technicalities of the dance. I'm really likely to say "this is what we are doing now", and offer up "why", but I believe in the individual interpretation that prevents boredom. Teaching is a position of power - you can either empower or disembowel!
O. What do feel about the structure in Middle Eastern dance in America?
M. I feel that American students could all benefit from taking ballet. They could see the regimen involved in a dance where you don't move forward until your teacher says you are ready. You know where you stand by where you are placed in class. So many dancers will say to me, "I need a video to watch". No you don't - put on that music and practice 5 patterns. We are such a spoon-fed generation.
We have no interest in doing the endless repetitive work that it takes to improve.
O. So do your own students go through a particular process?
M. My beginners may or may not have studied another form of dance. I think it is a teacher's job to weave some of the culture into the physical lesson. When you are using a song in class, inform about the composer, the rhythms, the meanings of the songs, and finger cymbals from day one....whatever happened to finger cymbals? Intermediate class gets a host of vocabulary to memorize. They must perfect performance of these combinations while playing finger cymbals. Dancers in my advanced class have been dancing in my intermediate class for years, learning to layer and layer. I will move them forward at a rapid pace because they should be able to learn and remember choreography. I try to prepare them for improvisation in the intermediate class so that when they get to advanced they can improvise and individualize the moves.
O. And perform?
M. Not everyone. Does every ballet student put on a tutu and perform? 
O. What makes a great performer in your eye?
M. Authenticity! The age old struggle for every artist - to find your authentic voice. I'm still on that journey right now. I'm drawn to dancers that present theatre - going way beyond dance piece after dance piece. I want to see colleagues who are expanding into thematic works. Dancers who can take a beautiful piece and paint their own tapestry. I crave originality.
O. So do you have a particular "icon" in this dance?
M. After taking a series of seminars and doing a show with Elena Lentini, I wrote her a letter. I said, "You have given me permission to dance outside the box". I realize, not everyone "gets" this amazing artist. When she performed in my show, her music selection was so vast, that I knew my musicians could not play for her. She did three solos. I met Elena in 1998. I feel she was responsible for the rejuvenation of my dance. I felt any chains put around me by others, immediately fly off. I think though, it may have been unsettling for others to see me doing something other than what they were used to seeing me do. I've seen Elena take a concept and drain it! Sometimes, I teach like that - take a rhythm and teach a whole class around it. I also took classes from Ragia Hassan at a time when I was ready to absorb her long, intricate choreographies.
O. What do you think draws Americans to this dance?
M. There are a multitude of reasons why American women are drawn to this dance. The reasons are as individual as the women themselves. I think that the exotic nature of it continues to be one of those reasons. And sometimes I see trends in the dance that are driven by the American obsession with youth and beauty.
O. What if anything makes you uncomfortable in this dance?
M. I'm uncomfortable with a dancer who seems to have made no effort, and has no desire, to make any connection with the culture. I'm concerned when I can see that a dancer has no interest in study. People who want to perform but don't want to attend class. I know students, whom, when we begin work on a piece, want first and only to know about the costume. When performing, you should know what you want to achieve. Performing in clubs was good for me because it taught me about having a good ear, relating to the music, relating to the audience - it helped me improve. I'm uncomfortable that so many dancers are out of shape physically, which you can be so easily. If I see a preponderance of physical weakness, I feel compelled to say something about it. For me, the dance has never been about sexuality and it makes me extremely uncomfortable if someone views my art in that way! Really, I'm uncomfortable with the embarrassment of being called "belly-dancer" following the 25 to 30 years I've invested in the dance. I think words are very important and the way we refer to ourselves may be one reason we are not taken as seriously as say, ballet.
O. Share a dance memory that you hold dearly with us please Margo.
M. For my 2002 concert entitled "Women's Voices", I decided that I would design a performance piece around my Lebanese Grandmother. I hired a mime -did something in a totally new way. People in the audience cried. Men actually cried. My violinist, Salah said, "I would never have thought you could do something so personal that would bring such a broad response from people". Since that performance, several people whom I truly respect have encouraged me to dig further into the personal and celebrate the richness of my heritage. 
O. Where do you see yourself in this dance for the future?
M. Well - I feel that I need to really "put it out there". I feel kind of like - it's gonna be out there anyway and I better be part of it. It's now or never - that I should not let other voices speak for my culture. I just finished my third concert, entitled "Evolutions." It involved nine dancers, eight musicians, and a film maker. It included Arabic, Persian and Turkish music and dance as a way to explore cross-cultural influences and globalization. In addition to what I thought was fabulous dance and music, I included two unusual pieces.
The first was "Border Crosser" a multi-media collaboration between filmmaker
Michelle Mehri Mousavi, musician MaryAm Yusefsadeh and myself. The theme was borne out of a desire to define the concept of home as the grounding force in the shaping of one's identity. For immigrant families crossing borders and oceans to build new lives, one reality is the process of reinventing a sense of identity and home on an almost daily basis. Drawing on our collective Iranian and Lebanese cultures, against the backdrop of the American experience, this piece explored our journey toward a more permanent sense of home.
The second unusual piece was called "Exotic" where musicians and dancers addressed the evolution of a Hollywood stereotype. In this multi-media piece, I wanted to expose the stereotypic film depiction of Middle Eastern dance and Middle Eastern women and encourage the audience to look at exploitation as one result of cross-cultural influences and globalization. Another project I am working on was brought to me by a local artist named David Harris, a Jewish musician. He wants to produce this ancient tale about Andalusia. A tale where Arabs and Jews live together in peace, sharing roots and culture. It's called "Peace in the House". Part of the concept will be how WE all work together with dance and music. Muslems, Christians, Jews and Americans will all take part.
O. So, Margo, how would you sum up this complex Art you have been a part of for almost thirty years?
M. I would say - nothing is more freeing than the first time you give a room full of women a host of veils. You don't have to tell them what to do, they just take right off dragging the fabric along with them. To dance is to celebrate life - just remember - technique will set you free!
Margo Abdo O’Dell
The Center for Performing Arts
3754 Pleasant Avenue South
Minneapolis, MN 55409
www.margo1.com * margoabdo@margo1.com
