Self-Reflection for Middle Eastern Dancers and Event Producers: 
How our Personal Choices Affect the Whole
By Dana Sanders a.k.a. Dahlia, Seattle, WA
December 2009

Throughout recent decades, Middle Eastern dance performance quality, content and contexts have changed dramatically.  I believe most dance enthusiasts have recognized and accepted the fact that change was, and is, inevitable.  However, many concerns remain, particularly in regards to the context and quality of belly dance* performances today.

Dahlia
(Zaina's Choice for this Article)

In the Pacific Northwest, belly dance classes are easily found in many community colleges, community centers and fitness clubs.  Additionally, with such accessible modern technology, almost anyone can "learn to belly dance" via the world-wide web.  This burgeoning popularity of the dance (and music) is definitely both auspicious and exciting.  Unfortunately, we're also finding that this awakening has in some ways consequentially watered-down the general public's appreciation of the dance as a reputable profession, as well as delivered a mighty blow to those who strive to uphold standards in the field of Middle Eastern performance art. 

Granted, the widespread economic crisis is also a consideration.  Those who teach the dance or make a living via belly dance promotion have been hit hard this past year.  For a moment, let us set the economic factor gently aside to examine some thoughts - self-reflective considerations - which could assist us in understanding how each choice as a student, novice or professional performer, teacher, mentor or event producer trickles down to, inevitably affect the entire community as a whole...quite dramatically.

Through the years we have learned that there is an array of differing opinions regarding what's "appropriate" to present to the public and what's not.  However, let us recognize:  The majority of experienced professionals and mentors agree that amateur (A person who engages in an art, science, study, or athletic activity as a pastime rather than as a profession -One who has never accepted money, or who accepts money under restrictions specified by a regulatory body, for participating in a competition -One lacking the skill of a professional, as in an art) performances should generally be reserved for studio recitals, haflas, festivals, fundraisers and artist gatherings for the sake of the performing artists' community as a whole.  

Be cautioned:  Do not confuse quality and context issues with freedom of expression, dance art or exclusivity.  There is a time and a place for every budding performer or life-long enthusiast to share their love of this beautiful dance.  However, in turn, we must also recognize that everything a performer does while presenting him/herself as a "belly dancer" in the public eye affects everyone, particularly professionals, in the field.  The heart of the matter revolves around mentor revival, respect for colleagues and superiors, and maybe most of all, a dire need for dancers to engage in self-reflection.  Therefore, I'm recommending a more critical consideration of how the choices we make as individuals affect the now teeming Middle Eastern performing arts community at large, the general public's perception of the art form, as well as the professionals striving to make a living with it. 

Self-Reflective Questions every dancer should ask him/herself:

·       What are my goals regarding dance?  (e.g. Personal development, physical fitness, hobby, community, performance contexts, teaching, fame, etc.)

·       What genres of belly dance/M.E. dance and music inspire me the most?  Why?

·       Who are my dance idols/heroes?  Why?

·       Who have I studied with and why?  What did I learn from them?  What do I wish I had learned and/or hope to learn in the future?

·       Do I have a mentor?  If not, why? -or- Why did I decide to stop studying with a mentor?  If so, is she/he truly credible?  How do I know?

·       Have I allowed or asked my superiors to offer honest critiques of my dancing?  Would I receive them better if they were anonymous?  Why?  Why not?

·       Am I beyond critique?  Why?

·       Am I beyond studying my craft further?  Why?

Self-Reflective Questions every dancer and teacher should ask him/herself:

·       Why do I want to teach?

·       When should I start teaching?  Why?

·       Who helped me decide I was ready to teach?  Is he/she a credible adviser?

·       Why do I teach?

·       Who (e.g. age group, experience level, gender) do I teach?  Why?

·       What do I plan to teach?  Will I share everything I know?  Do I have secrets?  Why?

·       What should I charge?  Why?

·       Do I truly understand the genre I plan to/am teach(ing)? (e.g. Rhythms, counting, musical interpretation, instrumentation, stylization, props, history, traditions, costuming, do's/don'ts, etc.)

·       Am I sincerely honest with my students about my knowledge and abilities?

·       Do I understand business and performance ethics well enough to pass this knowledge on to my students who are interested? 

·       Am I confident I am leading my students in the right direction?

·       Do I have a mentor?  If not, why? -or- Why did I decide to stop studying with a mentor?  (Repeated for emphasis.)

Currently, there is a strong trend of opening venues to various types of belly dance shows produced by an amateur, inexperienced, or unwitting person or group of persons.  Again, when one begins to question the motivation behind producing these events, we may discover that some serious self-reflection is in order.

Self-Reflective Questions every public event producer or venue coordinator should ask him/herself:

·       What inspired me to start up (or take over) a semi-annual, monthly or weekly event/show?

·       Does my public event/show promote excellence?  Why?  How?

·       What kind of impression does the audience generally receive from my event/show?  How do I know?  When/how do I seek feedback?

·       Does my public event/show uphold professional standards in general?  Does it in any capacity?

·       If so, am I able to sustain excellence and ethically support professional musicians and/or dancers in this economy?  Am I making compromises?  Why?  (Consider expenses - advertising, house fees, tickets, labor, sound tech, lighting, assistants, talent fees, etc.)

·       Who is my audience?  How does this affect the content/theme of the event/show?

·       Would my event/show represent best in a restaurant, bar, club, theater, community center or dance studio? 

·       Should there be a ticket?  Cover charge?  How much?

·       Should my event/show have a cover charge if it features students or amateurs?  Why?

·       How much should each of the dancers and/or musicians be paid?

·       Should dancers be allowed perform for free or below professional minimums if they offer to?  Why?  When?

·       Do performers accept tips at this event/show?  How?  When?

·       What benefits should/can I offer performers in addition to pay, if any?  (e.g. Parking, dressing room upgrades/considerations, amenities, drinks, food, tips, etc.)

·       Can the market sustain the type of event/show I'm promoting?  If not, am I willing to take on the financial risk or burden?

·       How does my event/show affect the others its type in town?  Should I care?  Should I communicate with other event/show producers beforehand?  When?  Why?

·       What could I do to enhance the quality of my event/show?  (e.g. Add or subtract a number of performers to modify wages, show length; consider frequency, location, lighting, stage, sound quality, seating, service, etc.)

·       Honestly and ethically, should my event/show be held in a studio/closed environment for friends and community enthusiasts, or it is meant for the general public?  Why?

 Self-Reflective Questions every performer should ask him/herself:

·       Why do I perform?

·       Why do I want to perform?

·       For whom do I want to perform?

·       When and where should I begin performing?  Who could help me decide?

·       When am I ready to perform for the general public?  Should I?  Why?

·       Is performing personally or financially satisfying/gratifying?  How?

·       What style/type/genre of Middle Eastern dance is appropriate for a given venue?

·       Is what I'm offering/sharing/creating inspiring excellence or am I risk-taking?

·       Should I be paid to perform?  Why?  Under what circumstances should I be paid?

·       How will performing now, in this context, affect my reputation/career/opportunities in the future?

·       How do I decide how much money to charge and in what context?

·       Did I discuss business and performance ethics with respected, established artists before venturing into the field myself?  If not, when will I?

Q:  Who could help me answer these questions?

A:  A mentor

We have a responsibility to each other to answer these questions sincerely and honestly.  What we create and project today will eventually come full circle to directly or indirectly affect our very opportunity to continue sharing this timeless, even sacred, art form in any capacity.  By recognizing where and how we fit into the "system," each individual can make a considerable contribution to supporting excellence throughout our fragile community of Middle Eastern dancers, promoters and performance artists.  

"Be kind, for everyone you meet is fighting a great battle." -Philo of Alexandria

*belly dance - term used generically to include all genres of "belly dance" today, including traditional Middle Eastern belly dance styles, folkloric dances, fantasy, experimental, tribal, fusion, etc.