The core platform of the symposium is the UNESCO Convention’s definition of dance as “intangible cultural heritage” – transmitted orally, by imitation, or by practice.”  Included on that list are oral traditions, social practices and rituals, mythologies, and craftsmanship.  In other words, those methods of transmitting culture that are essentially rooted in pre-literate times, as many forms of folklore are.  These are practices and expressions that solidify a sense of group identity in folk cultures.

What does this mean for us?  First of all, it goes back to the question of names and labels.  I found myself in a discussion during coffee break of Balkan dance traditions.  (I’m a native of the Balkans and a lifelong participant in the intangible cultural heritage of Balkan dance, hence my interest in the conversation.) One of the participants turned to me and asked, ”What form of dance do you deal with?” I answered, “Mainly Oriental.” His rebuttal I was not at all prepared for…..”Oh, so you’re an exotic dancer!”

Mak Yong - the ancient deep trance ritual dance in which a female dancer embodies a male god. We were lucky to see it because the Islamists here are trying to stamp it out, just like they're trying to stamp out yoga!

Here is a shot me learning traditional Malay "Zapin" dance which was brought here by Yemeni traders about 500 years ago. The twist to Zapin is that it's rather "courtly" as a lot of the traditional dances of Southeast Asia are anyway. There is a strict interdiction on physical contact, in favor of rhythmic motion in groups and pairs with prescribed postures and gestures. Very fascinating stuff from the standpoints of cultural diffusion and dance history.

The courtly nature of Zapin - this was a romantic dance, but notice how far apart the dancers must remain physically.

The Zapin workshop in Batu Pahat - on a sweltering day!

and then it dawned on me, he was using the definition of “Oriental” from Edward Said’s seminal work Orientalism – a study of Western stereotypes about the East, particularly the Muslim East – colonial attitudes oversimplifying the East, or Orient, as “mysterious, unchanging, and ultimately inferior…the Other”.  I pressed on.  “No, you don’t understand. I dance Middle Eastern dance and the reason we call it “Oriental” is because that’s what they themselves call the dance – Raqs Sharqi, or “Eastern Dance”.  He pressed back, further defending his comment by stating that “Belly Dance” is used mainly for purposes of titillation and is therefore perfectly admissible under the rubric of “exotic”. I supplied our stock distinctions between Cabaret and Folkloric forms, but it was too late and beside the real point.

He had already managed to use my definition of my dance form against me, to paint me as marginal, politically incorrect, and strangely enough, to “orientalize” me within the context of that symposium in the ways that Said describes in Orientalism.  I was now, officially, “Other”.  Not representative of any of the “legitimate” dance forms, eastern, western, northern, or southern being represented in the symposium, but “Other” and therefore not entitled to a voice among dance scholars.  All because of a word choice.

The label “Oriental Dance” gave me a jolt years ago just because of the Orientalist and PC question, but I had allowed this concern to go dormant as my involvement in the dance form deepened and my discourse with scholars I respect (like Morocco) developed.  It reared up to bite me later as we’ve seen.

“Middle Eastern Dance” seemed like a solution for a while, but, ultimately, it is way too broad.  What kind of Middle Eastern?  Egyptian? Turkish? Lebanese? Palestinian? Algerian? Hagalla? Fellaha? Saiidi? Baladi? Khaleegee? Dabke? Got a few hours so I can define my dance form to you? 

And what about forms that may be rooted in Middle Eastern dances but cannot rightly label themselves as such, like Tribal or Gothic?  What about fusion? Samba, Latin, Flamenco, Gypsy fusions? I happen to enjoy good fusion projects, regularly dreaming up choreographies that weave Balkan, Roma, and Isadora Duncan with Oriental.  (Gosh, I felt a little dirty writing that just now…) How on Earth do I sum this up for people?

And, if I can’t accurately name my dance form, how can I set about legitimating it?  I also attended the 22^nd CID-UNESCO World Dance Congress in Athens in July of this year.  Again, international panels, workshops, and performances every night. 

My own Duncan-Tchiftetelli fusion was warmly received and applauded by diverse participants and audience members.  Within the Congress, however, this was all perceptually lumped under the simple banner of “Belly Dance”, and during the wrap-up meeting on the last day, people gave their opinions.  “There was too much Belly Dance this year!” was the rallying cry, plaintively echoed by several attendees, who thought CID should stick to “real” dance forms, “legitimate” dance forms that reflect hard work and discipline and “real” traditions.

So what do we do?  I submit that we won’t have much success in reaching across to other dance forms until we’ve made a bit more headway in reaching across internally to each other. 

Because in today’s day and age, women are veering further and further away from traditional forms of community – less and less do we bond over quilting, canning, or sewing.  We have made great economic and political strides and our participation in our dance form is a sign of our personal and collective evolution.  What, are we going to skulk into the corner just because a pedantic egghead can’t countenance a slice of belly showing or a hip shimmying?

Those two conferences were a real wake-up call for me and I’m sounding the clarion to others.  I propose we allot time during our festivals and workshop weekends for open forum discussions of this topic. We can avail ourselves of electronic forums and blogs as well; the point is, let us not be silent.  Let us welcome the challenge of defining the intangible cultural heritage of Modern Woman and not shy away from the discussion of what we value in our dance. Inasmuch as we value our specific forms, we should also try to celebrate what binds us together, the joyousness of women dancing in free, beautiful, healthy, expressive bodies. When we can strengthen our own internal identity and present a much more unified front to the mainstream, perhaps the era of the “Other” may be that much closer to slipping into the past.

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