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