MISCONCEPTIONS IN ARABIC DANCE by Amani

Misconceptions in Arabic Dance

by Amani

Amani

The identity of each civilization manifests through arts in the form of music, dancing, costume designs, jewelry and drawing and handcraft items.

Sometimes some new authentic flavors and elements are due for adding more authenticity and beauty to the original source. This is called Development.

Sometimes the new additions go with the authenticity to the world of oblivion. It is called Devolution (decadence).

New lines, new identities, new concepts are the results of the admixture and interaction of two civilizations or more. This process is called Acculturation.

Unfortunately what is called “fusion” in the recent scene of Oriental dance is more of a ‘copy paste’ of dance steps just like an incompatible puzzle on a panel. Rare are the essays that have succeeded to combine various disciplines in a new aspect.

The new communication technology in its entire means has abridged the years into moments. As with many things in the world, technology is ‘a two sided coin’. It helps the wide spreading of  Arabic (oriental ) dance around the world, while a chaotic mangled status takes place, sometimes for commercial purposes.

This is the fact of today’s oriental dance but we are lucky enough that a few rare, educated artists in the Middle East remain and hold the old genuine treasures of this art. 

THE CHAOS
The absence of regulation and control of this art form has opened the door to each one who presents him or herself to speak as a ‘Master source’: to teach, to debate and to argue about oriental dance, its history, its styles and so on without a reference, a real background or a critic behind them or acceptance of any critical judgment or adjustment from learned Masters of the source who are rare.

Nadia Gamal

Some who are of the countries of the source have void background, are presented as teachers, using your love to dance for profitable goals. 

In general, everybody is stating and teaching whatever he or she wants: sometimes laying on a reference, sometimes not. The many dancers who are looking for knowledge believe in those statements just because they are looking for a reference to lay on it.

I will give you an example of what I myself have witnessed.

It was summer 2003 or 2004 when an American dancer was visiting me at home with her Lebanese husband. She was excited to show me a ‘duet’ dance choreography offered by her and her friend. I could not watch the dance for more than 30 seconds. It was odd.  

She asked me, “What do you think? “

Me: “well, it is a beautiful try but there is no compatibility in all the set. The music is Dabke, the dance costumes are Fallahi and the folkloric dance style is Saiidi”

Her: ‘’But it is XXXX’s choreography and she is considered the ‘one of the biggest icon of oriental dance’ in the US.  She has influenced a lot of dancers.’’

Lebanese Husband, “See, I told you this is wrong, you didn’t believe me. “

The dancer by Wajih Nahle

Also, being an Arab or a Middle Eastern native or to have been raised in the Middle East does not mean that by virtue one is an expert or Master of the dance and music. 

Even some teachers or dancers in the domain of dance or broadcasting field can perpetuate knowledge and information to the world that is incorrect.

Also not every famous figure has the education and the knowledge.

Najla Ates

Here is another example that I have witnessed.

A dance competition program took place years ago on an Arabic-Lebanese satellite TV. The director was well-known in the entertainment programs. The line of judges were a mix of Lebanese and Egyptian teachers, an Egyptian icon of dance (whom I respect most of her achievements) and the director himself. The seven dancers had to compete on Saiidi dance. I really felt terribly sorry to see the dancers struggling to dance Saiidi style on Bedouin music. Only two of the music tracks were actually Saiidi. The person who took the forte of selecting the music no doubt claimed to be ‘knowledgeable’ in this domain. I am pretty sure the ‘icon’ was not in charge to select the music for the competition simply because she would have chosen the Egyptian music she knows and rather than a repertoire of Bedouin Levantine music. Her only fault was that she did not react and cancel the episode, the comedy: unless of course she didn’t know any better. That then would be a major problem!

It is a pity also that the judge who claimed to be a reference in France was criticizing a candidate stating that she was not appropriately dancing on Rumba rhythm which counts ¾  For sure we all know that Rumba is 4/4. I was going to cry.

***

Another misconception in Arabic dance is that “great shimmies make a great oriental dancer”. It is sometimes assumed that the expertise of the dancer is determined by the amount of shimmies she can do rather than her ability to dance. Henceforth we should consider the dancers of Africa as the best belly dancers! Don’t they also have great shimmies? Especially that they have hip emphasis work in their dance. I don't mean that African dance is belly dance, no it is not . It's the beautiful dance carrying the wisdom of the elders of ancient Africa,  the African folkloric dances which I have seen in various African countries like in Johannesburg (Umoja show),  in Kenya,  etc. While oriental dance is the beautiful dance carrying the wisdom of the elders of ancient world of the region.

 Shimmies are a part of our dance but not all of it. This is the reason I have omitted Solo Tabla from the dance competition at Amani Oriental Festival: simply because it doesn’t show the dance, only the abdomen technique which is not enough to judge a dancer.

***

FEELINGS: Arabic Dancers not Aerobic Dancers.

If you do not keep the oriental aspect in your movements, the feelings of an oriental woman, if you don’t keep a feminine ‘scent’, a beauty and aesthetic line, if you do not interpret the music with your spirit before you materialize it through the body, you are not an oriental dancer.

Most of the recent and contemporary dance disciplines are based on techniques, unlike our dance form which fails if you cease the link between feelings and body.

This dance form is a part of the dance folklore of the whole region and is ONE in all the countries.  That is why it is called Oriental dance not belly dance. Widely known by the term “la Danse du ventre” in French “Belly Dance” in English came after Napoleons invasion to the Middle East and North Africa

***

THE STYLES

Some good efforts are made to understand the difference between styles running through recent dance scenes in the regions of the source.

Definitely, I am referring to Oriental Dance which is the common dance in the region and not the popular Folkloric dances which differ from a village to another.

The styles have been divided onto cross-country styles like Lebanese, Turkish, Egyptian and Greek style. Looking a little to the background has been forgotten. Some personal styles are commonly considered as a country style without referring to the recent handy source available.

PERSONAL STYLES ONLY

Each renowned dancer has her own style, her identity. There is no famous dancer if she doesn’t have her own style.

Many could have a style but the own style isn’t enough to be famous. It should be appreciated and considered by the audience first.

 Secondly it should be compatible with your personality, your image and charisma otherwise a dancer cannot join the list of fame. Imitating the style of a leading dancer keeps the original dancer on the list of fame. The imitator always stays out of the list, a copy.

Developing a personal successful style is difficult but not impossible and few are the dancers who have succeeded in having their own signature.

This is the general fact in the dance scene since ages.

Let’s have a fast review on the style of some Egyptian dancers: Tahia Carioca, Samia Gamal, Naima Akef , Najwa Fouad, Suhair Zaki, Azza Cherif for example. Each had her own style, her identity, no similarity. Yes- No similarity!

Is the style of Samia Gamal the style that you call Egyptian? Is it the style of today running in Egypt or being taught by diverse dance schools claiming to have the authentic Egyptian style? Of course not!

Jawaher

And what about Tahia’s style? Is it the standard style recognized as Egyptian? Of course not! What about Naima’s style? Of course not! And so on..

So there is no specific style called ‘Egyptian’

What about dancers from various countries and cultures: Katy, Suhair Zaki, Najwa Fouad, Amani (myself), Sema Yildiz, Boubouka,  Hermine, Nadia Gamal, Kawakeb, Najla Ates,   Nisrine Topkapi, Dina, etc. The same applies - each with her own style, her identity and no similarity.

So there is no Lebanese, no Egyptian, no Turkish, no Greek Styles, etc. Those terms have newly been created abroad of the Middle East. There are only ‘personal’ styles.

So we are considering as ‘General’ what is in reality ‘Personal’!

The style that has spread in the West is a style that has been created or adopted by a few teachers. Some are teaching their personal style and some are teaching that of some dancers of renown.    

 Compare it to the old dancers’ style like in the 40's 50's 60's 70’s and 80's!

The movies of ‘Golden Era’ have featured dancers from various countries of the world of Arabia. You would not recognize their origin through their dance style simply because the dance is ONE and the personal style of each dancer that identifies her, her personality and her NAME of fame.

Arabic dance is a part of oriental History and Folklore, however it holds a different concept from folkloric popular dances.  Dancers who join oriental dance scene from a popular dance background have to segregate or to separate between oriental and popular techniques. Otherwise a leak might degrade her ‘identity impact’ on stage.   

***

THE PERSONALITY

Samia Gamal, Tahia Carioca, both were students of  Badia Massabni, the famous Lebanese dancer. Did you know that their dance techniques were one, that they have not only learned the same techniques but also applied them.   What made the difference is the language, the personality.

So it is a presentation of your personality, therefore you should always keep in mind to give respect and dignity to your dance and to yourself. Any movements that degrade you and your dance are better to be avoided.

What is making the situation worse is the addition of new movements and steps to the dance vocabulary which are far from any artistic or aesthetic aspect and not considered as athletic ones.

For example:

- Big hip circle emphasis and shoving your buttocks vulgarly when you execute the movement.

- Shaking your breasts in an indecent manner instead of making an elegant shoulder shimmy

- Stomach shimmies which erase the feminine image of you.

Self-respect is the way to oblige the spectators to respect your art and your person. Seek for your style naturally. How?  It is very normal that at a certain stage of studying the dance, you need to learn and to explore various styles. When reaching professional level, try to   be YOU. Be yourself, show your personality and not the personality of others in your dance. Be honest with your feeling, show it. That is how you will find your style.

At the end I ask the oriental dance communities that are aiming to offer the genuine in dance not to generalize what is specific, simply say it by its name i,e. the style of X and the style of Y of the dancers thus acknowledging the work of those who came before us so you might also be One of those dancers or dance teachers whose work will be acknowledged in the future.

Together, let us start to trace out the recent history of Oriental dance with Love.

Amani, Lebanon, 23th of June 2017

English text amended By Marie Audrey Doherty