As printed in the Quarter 2/2005 Issue of The Belly Dancer Magazine)
Steeped in Controversy * The Belly Dance Superstars
A Review of the Shows and Honest, Albeit Experienced Opinions/Reviews
By: Zaina Hart
(See Oberon and Nizana's Reviews of The Belly Dance Superstars also)
Here you have three different "visions" of the Belly Dance Superstars and Desert Roses recent and past tours. Nizana, Oberon and I, while good friends and sisters, see things somewhat differently, yet quite similarly on various aspects of the BDSS and the surrounding controversy. I will begin.
In April of 2004 the Bellydance Superstars brought their tour to Portland, Oregon. Last month, in January the Bellydance Superstars and Desert Roses again stopped in Portland on their most recent tour.
It is no secret that the Belly Dance community has had an odd and often frustrating relationship with this show and its producer. At the forefront of this seems to be the very name that has been chosen to represent the show and the original "casting call" that went out very clearly giving an age limit for the production. When asked backstage about "why" the word superstar was used in the title, we were told this was Mr. Copeland's decision. A few of the performers expressed they have never really been comfortable calling themselves "superstars" and during that short interview several snickered and revealed to Oberon and me their "pet" nickname for the show - which I am just not comfortable sharing. What that nickname did reveal is the dancer's wonderful sense of humor and real, down to earth attitudes, not the "arrogant" attitude some might think goes along with being in a show using the term "superstar".
The definitions offered for the word Superstar which is not in Websters as one word but rather broken down, into two: First - Super: over, above, greater in quality; second - Star: to be the most prominent person in a collective activity or someone who is the leading performer in a play or film. So, does this mean the dancers in this show are the most prominent and greatest in quality in our field? Not necessarily and to those of us who have been neck deep in this business for years, well, we have it seems a different list of Superstars than the show's producer. Not to say that these women are not incredibly talented.
On one hand I understand what Mr. Copeland is trying to bring to the mainstream audience. On the other hand, I am angry that so many true superstars are left out. I am told of BDSS tryouts where dancers on stilts are held in high esteem (no pun intended) yet it seems some of the true, talented performers who try out are not even considered. We have "heard" one has to have a gimmick or some kind of shtick to really get his attention, or that there has to be some sort of "shock value" to a performance. The bottom line, is it is his money that backs the show and therefore what he likes/wants believes to be the best and most talented, or what works, is what goes on stage. Face it, we each have our own and often different opinions of what is "the most entertaining" - right? Is the BDSS and DR an accurate representation of the art form we know, love and have been nurturing for years? In my opinion - not really. Is it an exciting and entertaining show, with incredible lighting, wonderful music/musicians, and talented dancers? Yes, most certainly. A double edged sword some have said. Some describe their relationship and feelings for this show as "love/hate". And one of my final comments in the only conversation I have ever had with Mr. Copeland, was “Then I suppose we “agree” to “disagree”. (One of the dancers back stage said this very same thing, as did another dancer I spoke with recently regarding their feelings/relationship with Mr. Copeland). Now that is interesting.
I personally respect and admire the performers in this show; the time they spend preparing choreography and performing and the grueling hours spent on buses, in hotels, early morning and late night interviews and often flying to and from performances. It isn't as glamorous as some might think - - it is hard work and long hours spent away from family. I admire the dancer’s down to earth, kind, totally approachable attitudes.. All of the dancers are very kind as well as very talented.
Many of you may remember I have been a Jillina fan for years (she graced our Second Quarter issue in 2004) and since the first time I saw her on stage at Rakkasah felt she was an amazingly talented dancer. It is no surprise she is the show's director, however backstage, as we talked she was giving each dancer in the show "credit", making it clear it is a "family" of dancers who share in choreography and technique and who care about and support each other fully.
Dondi was not on this current tour and she was sorely missed. There was no narration this year or intro for many of the dances/dancers, except their name and the show's brief opening intro was, well, just the title.
Dondi's repoire with the audience is amazing as well as her classy presentation of the dancers and their specific pieces last year, which to me, left this year's show lacking as we progressed performance to performance with little more than a dancer or musician's name as intro. Dondi's "Belly Dancing Marilyn Monroe" was for me one of the highlights of that first show.
I was disappointed in seeing some of the same choreographies this year as last - and there were several. But that is just me - I do remember that kind of thing from one performance to the next. When Jillina hit the stage and did a solo performance with Issam (wow - every dancer would love the opportunity to do a live drum solo with this talented musician), they nearly blew the doors off the theater - one of the most remarkable drum solo routines I have yet to see. I was nearly jumping out of my seat with excitement from that performance.
Now while I am far from a "Tribal" style performer, I am a maniac when it comes to arm, hand and upper body mechanics, and Rachel Brice has this solidly down in every performance she gives - splendid. I fell in adore this year with Sharon and Michelle - - both captivating, with personalities that just light the stage every time they step out there. I was glad Petite Jamila didn't bring bagpipes on this tour, rather enjoyed seeing her as a "Belly Dancer" this time out - her double veil spinning routine left me dizzy in my seat. Amar Gamal, either is new this year or missed the Portland leg last year, is an absolute delight to watch. She is elegant and graceful - making one feel as though they are watching royalty on stage. The choreographed performances by the Desert Roses - were, well "excellent". No one performance is left "on stage" too long. The Director/s have done an excellent job in keeping the show moving - never stagnating. Incredible lighting, backdrops, sound (Miles leaves nothing lacking in the music - - his background is in music, hence he has picked truly some of the best music to include in this show). And, as with the first show, this second was filled with costumes "to die for". Colors, styles, absolutely magnificent.
I would comment that I think the "chopped" up version of Hula (in squined flower and grass skirts) does not do the true art of Hula justice. My Kumu would have had a coronary to see the art form she loves so dearly, as did her Mother and Mother’s Mother, and so on, treated so unjustly. Nothing against the dancers, but truly, to treat a dance art and considered by many, a religion so poorly is, "sad" to say the least.
As a final comment, and something to really think about, I would like to say that
there is a vast difference in "Entertainment vs. Entertainer".
