Cultural Appropriation and the Globalization of Belly Dance
- Fusion or Confusion -
Written by: Hadia
I am en route from Boston and a wonderful, inspiring 3-day
event called MassRaqs. The days were chock full of excellent classes in
Egyptian Oriental, Middle Eastern music appreciation and rhythm interpretation,
Tunisian Folklore, Veil and Turkish Roman classes - offered by Katia of Boston, Karim Nagy and
our hostess, Meiver de la Cruz and myself, Friday evening featured a studio
performance by invited artists and Saturday ended with the theatre gala! However,
this article (which will be the first of a series) was inspired by Sunday’s panel
presentation and discussion, which wrapped up the weekend events. The subject
of “Cultural Appropriation and Globalization of belly dance” was described
briefly by our hostess as; the representation by a dominant culture in ways
that are offensive to the native culture; and/or the phenomenon of
cross-cultural exchange, cultural assimilation and hegemony, to the point
wherein the dominant culture dictates and/or alters the practices of that
culture.
Invited speakers included Katia, Karim and myself, as well
as a varied range of artists and scholars including Shema, oriental and traditional
Middle Eastern dance artist from England; Donna Mejia– choreographer and
performer of contemporary and Arab/African Disapora dance; Tempest, innovator
of Gothic Belly Dance and Naraya Ligouri, founder of ‘Vadalna Tribal Dance Co..
This broad canvas of perspectives and experience ensured a lively and dynamic group,
as each presenter offered a concise 10-minute introduction and key points. Then
the floor was opened for discussion between the panelists and audience. Some very sensitive and thought provoking valid
views were raised but a few primary points and central questions were:
“When the musical and dance traditions of a specific culture
are practiced and presented by artists who are not from that culture, when does
their interpretation become innovation and growth and when does it loose the
fundamental elements and essence of the original and thus become a separate
form?”
Also, “At what point does innovation result in the evolution/
development of a cultural art form and at what point does it result in the disintegration
of that form?”
“If one chooses to perform and/or teach the dance and music
of another culture, does one have the responsibility to study, respect and “represent” culturally accurate presentations
of this music and dance, or is it acceptable to modify, innovate and even
depart from that culture’s ethnic art forms?”
A great deal of attention was given to the question of
nomenclature – suggesting that the term “belly dance” was a contributing factor
to our current identity problem and the resulting confusion that we
collectively experience. This term is currently used internationally in many
languages (danse du ventre, danza del vientre, bauk tanz) and generally refers
to the soloist’s professional presentation as established in Egypt in the
1940/50s.
This art form, generally referred to as Raqs Sharqi
(literally translated as eastern dance), is the perfect case in point of
successful fusion/development/evolution of the traditional Egyptian Raqs Baladi
within the European-inspired cabarets and American based film industry. Sharqi elevated the popular baladi, as
practiced by all Egyptian women in the home and at family gatherings, to the
status of professional “Star” through the incorporation of ballet training,
jazz choreographers, movie characterizations and even “foreign movie
experimentation” in Latin, flamenco, Polynesian even African fantasy. These
elements infused baladi dance with lifted elegance, grace, form and enlarged
breadth of repertoire, but they did so without loosing the intrinsic hip, torso,
shoulder and arm movements nor the essence of joyful, earthy, feminine
sensuality. Although this essence may be
impossible to qualify or quantify, it is indeed easily recognizable on a
visceral level and, in my humble perspective, the common and unifying element
in its myriad of unique individual presentations.
One panelist suggested that the root of our identity problem
is the use of the term belly dance and stated that it should be called Arab
dance, as it relates to the language group. Several other panelists found the
term to be derogatory, or not reflective of the forms that they are
practice. Another suggested a solution
in an alternative spelling as one capitalized work Bellydance? However, what I found most interesting was
the fact that things got tangled up in what exactly was an appropriate term for
the various dance(s) that they practice (fusion, fusion belly dance,
trans-cultural dance). This difficulty
in determining a name for the form that they practice may once again be direct
result of confusion about what their forms actually are and whether or not they
contain the fundamental elements or essence that I suggested above.
The term “”Arab dance”, while preferable, denies the
inclusion of Turkey and Iran, nor does it take into consideration the very
relevant distinctions between “traditional” folkloric forms – which include
specific “dances” of specific countries, regions tribes and/or
events/traditions, most of which have their origins of their pre-Arab cultures
such as the Berber, Nubian, Kurd and Roman.
I believe that the primary polemic of the cultural
appropriation of belly dance is centered around, Raqs Sharqi rather than this
particular category of folkloric/traditional dances. Even the knowledge of
their existence and portrayal requires research and study and, as such, suggests
some respect for cultural integrity. However, the presentation of these very
traditional forms remains a crucial consideration in light of the question of
whether or not we have a responsibility to another culture to study, respect
and represent that culture accurately. In my opinion, this question suggests
are far more relevant source of our confusion than the mere choice of name or
word.
One of the non-panelists asked how could “we” accurately
represent the dance of another culture if we are not from that culture. The
answer is simple. We must invest the time, the effort and consequentially the
funds required to do so. This is the
case when students from other cultures undertake studies of flamenco, Indian,
Polynesian, Tango, African dances etc. and it puzzles me that we would might
approach the folkloric dances of North Africa, the Levante, the Khalij , Iran
and Turkey any differently. It also saddens me that many internationally
renowned “masters” do not even take the time to research, study and take
lessons in the forms that they teach!!
During the past 8 or 10 years we have seen a veritable
explosion of interest in “gypsy” dance. As true masters of fusion, the
gypsy/Romani people have adopted dance and music forms from the countries they
have passed through or settled in, as they scattered to all corners of the
globe. However, there are three areas where they have been allowed to stay for
long periods and, as such, have developed very distinct forms of dance. These
are Ghawazee of Egypt, flamencos of Spain and the Turkish Romans. I have spent
close to 30 years living with and learning from these intriguing people. In
this article, I choose to focus on the Turkish Roman people and their dance.
My love affair with Turkey, her people, music and dances
began more than 30 years ago, I began with the study of the very rich and
varied field of Turkish folklore, under the guidance of Tayyar Akdeniz in
Ankara Turkey. I enjoyed watching the Turkish oriental dancers, but preferred
to study the Egyptian variation. Many years later, I decided to organize
cultural and dance study tours to Turkey and hired Tayyar to teach folkdance,
while I taught oriental. While planning
our class program, he suggested that I teach some Chiftiteli and he would teach
a short section of Roman 9/8 dance. He had grown up in a Roman neighborhood,
where he had watched many gatherings and absorbed some of their movements and
style. I was instantly intrigued by this form and it became the primary focus
of my annual dance and cultural tours. Slowly and surely over the years I
continued my Roman quest through the wealth of Turkish music, its brilliant
musicians, unexpected impromptu performances by a new generation of Roman women
in restaurants or smaller bars and even at our hotel (once the word was out
that my small groups of foreigners were on a mission), as well as the Annual
Roman Festival in Istanbul every May.
REYHAN
Although, it is relatively easy to find men to watch and
study with, it was far more complicated to learn with a woman, as traditional
Roman women do not dance outside of their closed community gatherings and
events. I did study some Roman dance with Sema Yildiz, a professional oriental
dancer (who I love dearly) during several tours. On my free time at the end of one tour, I was
invited to share a semi-private with Reyhan Tuzsuz by Delpha, an American
dancer who was living in Istanbul. After the long bus ride, this sweet and
charming little housewife welcomed us into her home. We had a brief visit, put
on our skirts and followed. Around and around in a circle we danced in the
small room, as Reyhan carefully, slowly and patiently went over the basic foot
patterns and a fascinating variety of gestures and her unique “Reyhanisms”. It
was love at first class and I remain a devoted student and promoter of this
gifted and precious artist, her purity of spirit and her magical connection to
the great source of her peoples dance.
“Learning Turkish Gyspy dance from an authentic master of
Turkish Gypsy dance is almost an unheard of opportunity. Even in turkey, it is
a rarity for a roman person to actually teach the cultural dance form that is
so integral to their lives.
Reyhan Tuzsuz, through her generous heart and desire to
spread the joy of Roman Dance, had made a simple life for herself teaching dance
out of her humble home in Istanbul. And now she offers her technique, her
culture and her spirit to the Western World to be learned by admirers of Folk
and Oriental Dance alike.
Reyhan lives in the same Roman neighborhood she grew up in,
GaziOsman Pasa, Istanbul. She learned to dance as all Roman do, by watching
others and feeling the music at weddings and special events.
From a young age, Reyhan had a gift for interpreting and
stylizing to Roman music. She is totally improvisational, surprising even herself
with what the music can inspire from moment to moment. “Roman without the joy
of life is not Roman” as she would say. A session is more than a class; it is
an opportunity to experience the joy, strength and life of the Roman culture.
She is a young and vivacious woman who has not separated her dance from her
core identity and her spiritual being.”
For some insights on the Roman people, their nebulous
history and their dances, I invite you to read, “So you Wanna be a Gypsy?”
under the articles section of my website.
I look forward to your questions/commentaries and invite you
to say tuned for upcoming articles relative to our Fusion or Confusion Theme.
- The establishment and
maintenance of standards in dance in flamenco vs. oriental dance (certifications
and qualifications?)
- Art vs. income -who is
currently setting the standards in our art form?;
- Latin dance and oriental
dance vs. dance sport and belly dance - a parallel;
- The voice of our Arabic
and Roman teachers
- The essence of a dance
form – muscles, meridiens and energy?;
You are also very welcome to join us for the 10th
Anniversary of our “Turkey – Gateway to the Orient” Tour, November 6th to 21st.
For this celebration we will combine the best of both worlds, with 7 days 6
nights dedicated to dance in Istanbul PLUS one week in Cairo with the Nile
Group Festival.
Thanks so much and until soon,
Hadia * hadia@hadia.com
