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9-28-08
re: AWS
08 Not So Welcoming this Year by Yasmin
Dear Yasmin
First of all thank you very much for writing this article. I have never
been to Egypt so some people may think that I have no right to talk about
the Ahlan Wa Sahlan 2008 competition.
I am not an Egyptian but I know that the AWS contest winning Taiwanese
girl doesn't dance like a belly dance champion and that she is not even
close to one.
When she came back from Egypt to Taiwan after the contest, she represented
her dance as how Egyptian dance should look. She went on all the TV
shows in Taiwan and in some of the TV shows and said she beat over
200 contestants from 40 countries.
You might believe that I am just a fellow dancer that is being jealous
of her but I am just a person who loves Egyptian dance too much, and
I can't stand that she is letting people think this is how Egyptian
dance should look. I mean she is representing the best of Egypt? We
belly dancers try so hard to let people think bellydance is an art
form but this is how she dances on the Taiwanese media again and again....take
a look you will know what I am saying.
Just be patient and finish the whole clip.
http://tw.youtube.com/watch?v=uMruolHndL8
[Ed note- this video has now been removed, though we were able to grab
a screen shot before it was taken down]
This is just the last straw. I know a lot of competitions are fixed, some of them I have heard about, some of them I have witnessed. I have never thought that the AWS competition would be similar to those.
I can try to forget about
what happens at other competitions but not AWS. This is because it
is held by Raqia Hassan in Egypt from where Egyptian
dance originated. I’ve never meet her but my friends told me she
is like the godmother of Egyptian dance and if I love Egyptian dance,
I have to meet her and “learn” from her. Until now I have
tried so hard to save my money so I can achieve one of my biggest dreams:
which is to take as many private classes with Raqia Hassan as possible.
After I saw the Taiwanese crown holder dance on the Taiwanese TV show,
I know something really is wrong with the competition, and this truly
breaks my heart. I have been trying so hard to go to Egypt to learn from
this woman who some people say represents Rak Sharqi, but in the end
it seems she has chosen something else over the dance.
I just want to say thank you, Yasmin, for having the courage to speak
out.
I love this dance form too too much. I want it to be about the dance
and not the politics. It should never be just about the politics.
Aleena
Taipei Taiwan
9-26-08
re:MECDA's Missing Elections by Doyne Allen
Hello,
I am writing in response to Doyne Allen's
letter "What Happened
to Democracy?". I would appreciate it if your publication would
be generous enough to post this response in some manner along with
his letter as a response to it. Unfortunately, in belly dance we deal
with
many people who do not adhere to business ethics. Writers and Publications
are required by law to fact check prior to printing unless a publication
is advertised as entertainment. With the age of the internet, I'm not
sure how well enforced these things are, however, Allen's letter is
slander and will be treated as such by the organization. My letter
follows below:
People should gather all of the facts prior to making accusations.
Unfortunately some people act before they think.
FACTS:
The Nomination form for the Central Board of 08-09 went out in the March
edition of the Happenings.
2 nomination forms were received from the entire membership by the deadline.
The board voted (as a Parliamentary Board as stated in the charter) that
they would allow more time for nominations to be sent in.
By July, MECDA still only had the 2 nomination forms on hand.
The board voted to keep the current officers in their positions until
the election was completed.
By August, MECDA had received several new nomination forms.
The Elections Officer notified the nominees.
As of the August meeting, the officer was waiting for 4 responses from
nominees.
As of September 26th, 2008, there are not enough nominees for all of
the positions.
If anyone would like to run, please notify MECDA immediately. You must
be a current member, in good standing to run for office.
Ballots will go out the moment that we have a nominee for each position.
Allen's statement, "In most organizations comprised of paying members, only a vote of the membership can enact any change in its charter", is fear mongering. It does not matter what "most" organizations do. This organization was built on Parliamentary rule (a founder of the organization would know this) and continues to function as such, per the charter that Mr. Allen is so fond of "quoting". Reading the Charter prior to making such statements might have been helpful.
Another fact, in regards to Allen's statement further in the article, "No person or persons that are members of a non-profit organization may, in any way, make a profit from this organization, (other than a salary paid to the officers, and this must be approved by membership)", is that Janet Thomas is NOT making personal profit from the organization. Bids have and continue to be sent out for printing by the Editor of the Happenings. Thomas' company continues to hand in the lowest bid. Anyone paying attention to the matters of MECDA over the past 6 months would know that we have "Gone Green" and are no longer paying to print the Happenings at this time.
Lastly, ALL MEMBERS ARE INVITED TO BECOME INVOLVED. Attend meetings, share your thoughts through the Happenings, send letters via email and/or snail mail. Anyone who isn't interested in the FACTS, doesn't care for MECDA. If Allen had even taken the moment to email the current officers, he could have received facts almost instantly. Unfortunately, Allen chose the unethical tact of using slander to hurt the organization.
If you care for MECDA and want to see it's future succeed, please write us at info@mecda.org.
Thank you all for your attention and for your repeated dedication to MECDA! You are all the best part of MECDA, the members.
Blume Bauer
Happenings Editor, MECDA
President, Desert Communities Chapter, MECDA
Editor's reponse-
Sitting in this chair I often feel that I am hearing only parts of the
story from many different people. Sometimes the pieces don’t fit
together quite well. If I am confused, so must be the readership and
community. Perhaps this is why you may feel that the community doesn’t
care or is apathetic. A non-profit built to serve a community needs to
be as transparent as possible. Communication is part of MECDA’s
mission. That is not happening for whatever reason. Now is the time to
fix this. Anyone who stays in power longer than their term is automatically
suspect. Why not tell us what happened behind closed doors? Where are
the minutes and the financial statements? Where is the information for
members and chapters? Where is the accountability?
Let’s also state the obvious. Gilded Serpent is not a democracy, it is a web magazine! We try to give voice to as much of the community as possible. We share news. We publish a variety of articles from the informational, how-to, travelogues, product reviews and editorial statements. We published Doyne’s article because he had a strong and important statement to make and he was willing to put his NAME on it. It is an opinion piece and as such represents his opinion.
Blume's response is not quite official and directly from the organization. I could keep posting everyone’s angry responses or we could bring closure to this scandal. We need an official response signed by the president and ratified by the board. Perhaps Blume should spearhead an official statement that is approved by the board that addresses the points made. What is the future of MECDA? Your audience awaits your leadership.
Thank you,
Lynette
Editor and publishers of GildedSerpent.com
9-24-08 re: Ahlan Wa Sahlan 2008, Not So Welcoming this Year by Yasmin
Dear editor,
Actually I was surprised with this article as Yasmin is never been
a problem maker for AWS festival before and I think that if she is in
connection with Mr. Khamis Henskesh does not give her the right to talk
about an international festival without sending this comment to the organizers
of the festival so if there any mistakes it should be solved but this
way I think I can just say that I am so surprised to read such a lies
Thank you for your time
Yasser from Cairo Egypt and I am the son of Raqia
Hassan and the organizer of AWS festival.
9-1-5
re: A Story Written with Arabic Idioms; Why it is Difficult to Translate
Arabic songs into English, Story by Annonymous, Translations and interpretations
by Rima El-Mouzayen, Introduction by Najia Marlyz
Thanks! I'm learning
Arabic and this might be very helpful when I come across one of these
in something I'm reading or listening to.
Shukran jazeelin!
Jennifer Rosen
Denver, CO
9-1-08 re: Professional
Presence by Aszmara
I was at Folk Tours that year as well and saw the ideal of professional
presence in motion throughout your performance. Despite the facts that
you had to take Souren to the hospital, returned to camp late, and had
a different musician than planned, you went on as if nothing had ever happened.
You embodied the music and performed flawlessly. Artemis and Dalia, who
I am sure were also stressed by Souren's illness also gave amazing performances.
Thank you so much for your insights.
Jen
Westchester NY
8-28-08
re: Professional Presence by Aszmara
I was at the Folktours
show that Aszmara describes
in this article. I have to add it was one of the most incredible belly
dance shows I've seen in my life (and I've
seen a lot of belly dance shows!). The music put everybody in a state
of pure ecstasy. (I notice in the photo the clarinet player wasn't named.
It was Ismail Lumanovski - look him up on YouTube,
he is one hot, hot clarinet player. Also worth mentioning, is Seido
Salifoski on Tabla -
missing from the photo at that particular moment.) Dalia Carrella was
so on, I was wondering how anybody could follow her performance, but
then Aszmara came out and totally blew me away. Tayyar and Ibrahim did
their great manly Turkish Folklore (including a really great Black Sea
dance that has become a favorite of mine). Again I was left wondering
how anybody could follow this line up of performances, but Artemis finished
off the evening with such grace and a great sense of humor. I laughed
I nearly cried, I about fell off my seat, and jumped up to give about
5 standing ovations that night. I truly feel bad for the people who weren't
there to witness it.
A-feakin-mazing.
Shems
Baltimore, Maryland
8-19-08 re: Suhaila
in the Phoenix, photos by Susie Poulelis, video by Lynette
Lynette,
I'm writing to comment on the issues around Youtube's
pulling the performance videoclip material of Suhaila's "Phoenix" show that Gilded Serpent
was invited to attend and cover. First, the footage was accurate and only
recorded parts of performances during the show, so the reaction of Youtube
in response to the "infringement" complaint seems over-the-top
to me; you were press invited to cover this event! Suhaila, and many
other performing dancers in the ME community, disallow videotaping during
workshops
and/or performances, but that strikes me as being directed at attendees
in general, not press.
Still, Lynette, I've read your updates and am very glad you have consulted
an attorney well-versed in copyright issues in the entertainment industry.
I did view the all videoclip material on Gilded Serpent before it was
taken down, and while it was fair and accurate footage, it was also the
unvarnished
reality and this is where the problem lies. Most performance artists
work very hard at maintaining and controlling their "image". When
they perceive that control of that "image" has somehow been usurped,
they will intervene any way they can for "damage control".
At the end of the day, though, it's show business; this means ALL publicity
is good! There are a myriad of ways Suhaila, can, if she chooses, put
a very positive spin on the video clips/article on Gilded Serpent. After
all, Suhaila's event was themed "Phoenix", and the mythology
of the new phoenix that always rises from the ashes would make a very
intriguing parallel to a life-long performing dance artist currently
struggling to
cope with major life changes and how that has affected their growth and
representation of the dance.
Nisima
Pacifica, California
8-18-08
re: AWS 08
Not So Welcoming this Year by Yasmin
Dear
Lynette,
Re: prices for the 2008 Ahlan wa Sahlan Festival
I was in Cairo on a buying trip this year and was also privy to some
shocking prices. Since 2001, the price of a hotel room in the Hotel Victoria
has gone up from $18/night with breakfast to $39/person. Costumes are
up 35-40% in the last 2 years. Taxis are double. This is not true for
non-American countries. Their countries are doing very well.
We are dropping our currency within the confines of the war in Iraq,
the war in Afghanistan, the gas war and our manufacturers' sending all
of their business to outside countries. Because of our cheaper economy,
foreign investors are coming here and buying mortgages from banks and
hiking the interest rates to whatever fantasy prices they want and hundreds
of thousands of Americans are losing their homes and are forced to declare
bancruptcy.
We need to nationalize American fossil fuels, keep our political noses
to ourselves, heavily tax imports and reopen our factories. And we can
drop out of OPEC.
OR, we can continue to support our own festivals right here in America
where a dollar is still a dollar. And we can look forward to a different
administration in Washington.
Thank you for your Snakebyte.
Best Wishes,
Kathe Alkoudsi
D.B.A. Cartouche
8-17-08
re: Making Recorded Music Memorable by Chandani
Thank you for your article on making cd's on Gilded Serpent. Great ideas!
Please extend my thanks to your recording tech.
Love T
Tina Enheduanna
Orange County, CA
8-12-08
re: IBDC
Vegas Part 3: Dream Big by Betsey Flood
About
the IBDC- Behind the scene view from Delilah.
I got the invitation to the press party in the mail the week after I met Alex by chance in Long Beach at another unfortunately floundering belly dance event (not his). I found the idea of a press party curious, but didn’t take it too seriously at first. It was more like, huh? I wish, but no one does this up-scale kind of stuff in belly dance world these days. But I took another look when I found out from a mutual friend, that Amani and Lucy were really going to be there. Erik and I had a show I wanted to see in Vegas anyways so off we went.
I must admit I had fun at the press party. We were wined, dined, entertained and treated like Hollywood celebrities. What’s not fun about that? It could have been really cool, but unfortunately it was not very well attended. So it had a sort of lonely feel to it even though it was good to see some old friends. It was not a cheap party to put on either. Alex had a vision. It looked like he had some nice people working with him, but gosh not much time!
I told Alex if I was going to perform at his event I wanted to do a real show, not a 5 minutes dance by to a CD. I played him the sample CD of “House of Tarab” a six piece middle Eastern ensemble. We signed a contract to include vending space, all expenses paid, plus very generous pay to bring the entire band plus vendor helpers so I could teach and judge contests. It was way beyond what anyone in the belly dance contest and concert business has ever offered to do for judges, teachers, vendors, musicians and dancers. I must admit we thought his visions were off the chart (who didn’t?) but who are we to pooh pooh any one else's dreams? After seeing so much deterioration in belly dance world we wanted it too work out. We wanted some one to raise the bar and care about our realistic welfare as professional artists for a change.
We performed on Monday night and did a great job. The bands moral was high. The workshops were low attendance, but the contests were a delight to watch. Vending was dreary. When the weekends show was obviously falling apart, Alex came to me and asked if “House of Tarab” and I would perform on Friday or Saturday night again, but the band had just taken off on the plane back to Seattle.! Alex flew them all back the next day and Karim Nagi sat in. Laura Rose, the award winning Dahlia Moon performed with us on Friday night. We flew back Saturday morning to do a wedding in Seattle .
All our expenses were paid up front of course. Alex kept in close contact about the dilemma each month. We did eventually all get paid, but we did give him a brake given the fiasco of his situation.
Delilah
Seattle, Washington
8-11--08
Editor's update on the fair use law and video reporting-
Just an update on the situation with our coverage by the fair use law.
I took your advice and consulted a copyrights lawyer I was referred to
by the California Lawyers for the Arts.
This is what I learned:
This is a classic case of why the fair use law was created. The fair
use law definitely protects Gilded Serpent in using video for newsreporting,
critique and commentary. There is no law about the length of a clip
that is allowed. The lawyer said it has more to do with not filming
the whole
performance. She said the only thing that she might have grounds
for complaint is regarding protecting her choreography and that would
be
if I had filmed the whole dance. This performance was billed as opportunity
to improvise to the band so this should not be a factor. It is helpful
that I have the ticket they sent me that says “press” and “gildedserpent” on
it. It is meaningful that both Vashti and Suhaila are familiar with
how we have covered events before. They cannot invite me to cover
the performance
and then retroactively revoke permission. She did say that parents
have the right to control the coverage of their children. She was
not clear
about the issue if the parents have placed a child on a public stage.
She recommended that we reedit the footage to be as short as can
make our point and remove the kids. She said that I should definitely
file
the DMCA counter notice at YouTube and not be afraid of the legalize
that it contains. She suggested that I also contact other online
news reporters and let them know of this case.
More additional information:
I also received a note from You Tube today stating that it was Suhaila
that asked for the video to be taken down.
Here also is a link to the Code of Ethics adopted by the Society for
Professional Journalists
www.spj.org/ethicscode.asp
GS embraces their policies as well as hundreds of other journalists.
We have taken your suggestions to heart and are attempting to remedy the situation. We will reedit the footage, removing footage of the children and may or maynot repost. Your further thoughts would be appreciated.
For those of you who missed seeing the video, we have added the timeline breakdown of what it contained to the original article page.
8-9-08 The following is a letter from the editor posted in response to a discussion thread on tribe.net regarding the video hosting site YouTube pulling our video from their and our site. This video was part of our GS photo and video report on Suhaila's recent show
Please
excuse this long winded response-
Thank you Shira for
pointing out that the role of the press is different than that of a fellow
artist and that representatives of the press are
generally invited to performances BECAUSE they will report on what they
have seen. Over the years GS has tried to fill the need in the community
for objectivity. This is very difficult in such a small community and
very few of us actually have journalistic training. We are doing the
best we
can.
This means that the subjects of our reports are not always shown in a
flattering light. It is our belief that critique
will help
the community and our art to grow. Sometimes it is enough to post
pieces of an actual performance or people's own words to best impart
information.
Then individual readers can make up their own minds, without a journalist's
opinion as a filter. That was my goal for the Suhaila piece.
I wanted the performances to speak for themselves.
This was not the first time Vashti had seen my camera. I interviewed her with the same camera before. I believe the video clip was pulled for reasons other than copyright issues. The unaltered footage I posted contained information she and Suhaila did not want the public to see. Photo spreads are safer. They can be chosen, or altered, in a way that video can not.
My job is to report what I see as objectively as possible. There is no better tool than video for that. As for the copyright issues themselves, I am still learning what they are and how to apply them. It was not my intention to take away the value of Vashti's footage or hide behind the Fair Use law. I doubt that the official videographer's footage on that night will ever be made public. I just wanted to show our community's famous artists as they are today. In the past, Vashti has appreciated reports and reviews of her productions. A producer takes a risk when they invite "unimbedded" press to their shows. I spoke with Suhaila before I even started working on the review. She knew that we would be posting a video collage. She invited me to come do a video interview of her at her new studio. I spoke with Vashti after the review was posted. She tried many strategies to get me to take it down. She even tried blaming me if Andre (S's ex) took Isabella away from Suhaila. It was only after this that she tried the copyrights angle.
Concerning copyrights in general: aren't there other rights here that Vashti and Suhaila should address if they release the footage on DVD? I learned a lot from this article - Music Copyright Law for Belly Dancers
What about the rights of the artists who wrote the music and the lyrics of the songs the musicians played? Synchronization Rights ought to be paid to them, right? I wonder if the producers or Vashti are concerned about cheating those artists out of their income.
As for respect and ethics ... I respect any artist who gives 100% of themselves to their audience, who works hard to represent their art form and who does not rest on past laurels. Everyone has an off day, an off week or month or year. But at what point does respect become a veil to hide behind?
Is it then ethical for a journalist not to report a change? Are not the ethics of objective reporting at odds with respect under these circumstances? Would our community prefer to have a magazine that only publishes positive reviews - out of respect? Or perhaps no news disseminator at all? Over 300 members of our community have published articles with GS in the last 10 years, with more volunteering their time to edit, proof, advise and to teach me.(Thank you!) It seems that most have enjoyed the large audience it has given them to voice opinions. Would you miss it if it disappeared?
I do not think it necessary to make personal accusations about my integrity, values or ethical ideals. I felt GS's ability to report objectively was at risk and voiced my concern in the magazine. Judging by Ashara's posts, I must have hit a nerve in the community, or reopened wounds that hadn't quite healed.
Thank you for listening and for your discussion. I have learned a lot from your debate and it is helping me to sort through my confusion.
Lynette Harris
editor and publisher
8-8-08 re: Suhaila
in the Phoenix, photos by Susie Poulelis, video by Lynette
Dear editor,
You
don't give us very much information about the situation, but it seems
to me that unless you
were specifically invited to videotape portions
of Suhaila's show, you shouldn't have done so. The Gilded Serpent is
not a television station or video news outlet, but an e-magazine. Print
and photographic coverage would be what most people would expect when
inviting GS staff to an event. Every bellydance show I've been to that's
more than a casual hafla has announced "no video cameras please."
If, however, a member of the organization gave direct permission for the GS reporter to videotape, then the organization's behavior seems baffling.
Thank you for your hard work at GS. I very much enjoy your website.
Regards,
Vashti
Madison, WI
[ed note- this writer is not the same Vashti that produced Suhaila's
show]
7-28-08 re:
Professional Presence by Aszmara
What a joy to find a feature written by one of NYC's gifts to
Middle Eastern Dance!
I loved Aszmara's article and her wonderful insights from her past and present
as a performer as well as her advice to dancers about dancing live shows...every
student of dance should read and every pro should review her suggestions!
Aszmara has long been touted 'The Best Kept Secret' in Belly Dance...why...we'll
never know! In the NY Metro area, she is known as a master dancer, instructor
and the Sultana of Synchopation!
Anyone who has the opportunity to watch or study with Aszmara should LEAP at
the chance...her dancing is electric, uninhibited and her technique perfection!
Gia al Qamar
Northern New Jersey
7-20-08 re:The
Egyptian Dance Code by Sausan
Hello There !
I read the "Egytian Dance Code" and like to post some comments
on it:
First of all, isn't it some kind of arrogance to post that the Egyptian
dance is the most perfect dance in the universe ? The Egyptian dance
is, like every folk-dance (and it is the product of some kind of "folcloric
evolution") the heart and the soul of the people who dances it !
This post implements an valuation which is from my point of view unacceptable!
So think about this:
What we (not-Egytian/Arabian - as the rest of the world) learn ise pure
dance-techniques......so to say "sports". And what you see on
the thousands of dance-contests are "Sports-Competitions". And
like we try to anatomize the different movements into there components
we destroy the heart of the dance. And so we like to define the egyptian
style. Well, of course, there are some charactaristics which are typical
for egyptian style like "not hitting ervery drum beat" and introversive
movements instead of the spacious dance style of the turkish dancers. And
of course there are some dont's which arise from the evolutionary history
of the dance and the role of women in this society. Should an Article like
that better be written by an Egyptian Dancer ? This article describes like
the different egytian dancers show there different way of dancing and also
the diffenten personal styles. For me, a dance style has some basic style
elements and then pose a challange to get the feeling. That does not mean
the try to copy a style, that means to get personally into it - the music
and the movements - and make it yours, and than be able to look authentique.
In this case Authenticity is the concruancy of your inner feelings and
your outer agitation.
What you are talking about is the soul of the dance. The soul of the dance
has to be brought in by the dancer.
Why are we always trying to depart everything in dead single components?
Greetings from Germany
Dahab Sahar / Sabine Baumann
- Gaiberg -
Board Member ot the German Association of Oriental Dance
7-18-08 re: Journey
into Womanhood by Artemis Mourat
I just love Artemis soooo much. She has been an inspiration for me, she
is a great person, a great teacher. Everytime I speak with her, I feel
like I am part of her life, that we are very good friends. She makes me
feel good as well as she is sooo generous of her knowledge. I learn so
much from her, she is a wonderful woman.
After reading this article, it brang back a memory of my first bellydance
show/competition where every judges, even my own teacher, said that I should
not have done what I done because my choreography was not "bellydance" by
their standard. I was beginning my third year of bellydancing and choreographed
on The feeling begins of Peter Gabriel - soundrack of Last Temptation of
Christ. In 1998, I was the first one, it seems, to do fusion. 3 years ago,
another bellydance competition came and I went. This time I was disqualified
because the judges said it was not "bellydancing" (this time
I danced on Tablat Bassem - a drum solo - but did it in a tribaret costume).
Artemis was there for me when this happen. Even though I was proud to "still
be there" even after all those people said I should not, I am the
kind of people who likes to "fit" somewhere so this situation
made me feel very bad. Her faith in me and her encouragements had an impact,
I was blessed to have her to talk to.
My 6 years old daughter often ask my who is my idol and I always answer
that I don't have any. But I would have to change my mind right now because
Artemis is my idol, she did so much and did it with so much love, I only
hope to grow just like her all my life...
Marthyna
from Saint-Hubert, Quebec, Canada
7-14-08
re: Jodette:
Undeniably Authentic by Sausan
Dear Editor,
Sausan's article was rich with information and glimpse of a
successful and intriguing career. But, I'm confused. The article starts
out with
what I thought was an interview and ends as a kind of obituary when it
says "Survived by three sons, three grand daughters, one grand son,
and four great grand daughters, Jodette enjoys the fruits of her teaching
labors watching her own grand daughters dance."
Could Sausan clarify
this, please?
Lynnae Kelly
Ephrata, PA
[ed note- author's response- "Jodette is very much alive. She is,
in my opinion, a survivor; hence, the statement, "Survived by three
sons, three grand daughters...." Apologies for the confusion. It
should have been written differently."]
7-13-08 re: Journey
into Womanhood by Artemis Mourat
Hi
I just finished reading some articles, I wanted to say I especially
loved the article by Artemis
Mourat. It has really inspired me, and made
me feel great about my current place in my own dance, and life. Thank
you so much for publishing her article as well as others.
Annwyn
Okinawa Japan,
7-10-08
re: Journey into Womanhood by Artemis
Mourat
Artie,
Anyone who has seen you dance can see that you realize your childhood dreams
of being Betty Boop, a gunman's moll draped across a piano and a can can
dancer in a Western saloon all rolled into one - every time you perform.
While dancing, researching, traipsing around the world and doing all these
fun "non-mommy" things-
you also have fostered the hearts and dreams of so many women. So even with the
conscious choice of not being a "mommy", you have indeed played "mommy" to
many, in the warmest, richest way possible- helping us through adult things,
womanly things and sometimes of course issues with other women.
Thank you for this wonderful inspiring article.Thank you for inspiring us with
your dance, teaching, integrity and research, but most of all, thank you for
being an inspiring woman, "mommy" and friend to look up to and to
turn to. Beautiful article. May we all feel such peace.
love,
Samira
hometown-state-needed
7-10-08
re: Journey into Womanhood by Artemis
Mourat
Dear Artemis,
Thank you for your beautiful and inspirational account of what it means
to be a woman (in her 50s). As a woman who too made that decision not to
have children it really hit home. There is so much food for thought in
your commentary and it bears revisiting often.
Sincerely,
Maria Celado
San Francisco
7-10-08
re: Journey
into Womanhood by Artemis Mourat
I just wanted to say a very big thank you to Artemis for her beautifully
honest and inspiring article. For me, her article is something to be printed
and re read many times in order to absorb all the richness of wisdom it
contains. I LOVE it when someone else is able to articulate the myriad
of thoughts and feelings for which I have no words. Everything she said
held a deep resonance for me.
Again, thank you!
Bobbie Barry, 44,
Victoria, BC Canada
7-9-08
re: Journey into Womanhood by Artemis Mourat
Ms. Mourat: I found your article both beautiful and inspiring. I am 56
years old and I entered this wonderful world of belly dance just 1 year
ago. Not only is it fun, but it makes you feel good at any age.
I was raised here in the West at a time when it was not commonplace to celebrate
our female population.
This dance is fulfilling and empowering and I am proud to say that both my 13-year-old
granddaughters are taking their first classes.
Ms. Mourat you are beautiful and I wish you all the happiness that this world
has to offer............
Loretta (Fatima) Sulieman
Washington, DC, USA
7-8-08
Re: When Two Doors Close Two Doors
Open by Sarah Skinner
Great Article, Sarah. I understand what you mean when it feels like
the end of an era when a great venue with awesome live music shuts down.
Out here in Southern California there was a great place for entertainment
called Wahib's Middle East where Roxxanne Shelaby had her Pure Sharqi
show in January of 2008 (
A Night at Wahib's Roxxanne Shelaby's "Pure Sharqi" ). Mouhamad
Salem had the most kick-ass band with himself on vocals and keyboard,
Nazo on bass guitar, Vartan on drums and Amir Sofi on tabla. For various
reasons, Wahib's decided not to host live entertainment anymore and you
can still feel the void. Mouhamad and the guys are going to another venue
that will supposedly open in a few weeks, but it will be in a trendier
area and may not have the same friendly and comfortable atmosphere as
Wahib's...nor will it have the fabulous food at a reasonable price or
Maitre'ds Samy, Rico and David. Oh yeah, and free parking!
My friends and I have felt lost ever since, like, what will we do on the weekends? Where else can we go to get that same vibe? At Wahib's, we also made lots of friends from the Arab American community and even became known as "regulars". Like Sarah said, we have to try and get used to the newer venue. Wahib's is still a restaurant with great food and a friendly staff. I'd hate to go elsewhere where the food and staff are foul and due to a trendier environment, more pricey, but we might have to make that sacrifice as long as Mouhamad, Nazo, Vartan and Amir stay together for that camaraderie and sound. Wherever they decide to go, it will be our new "home" and my friends and I will make the best of it.
Tracey Farmer
Simi Valley, CA
6-19-08
re: A
Moment with Amy Sigil, interview and videos and letters
below
Even though I feel Amy's dance is not belly dance, she is a dancer.in art I feel
to know the artist is to understand their work.
so, I did not find any of the info "too much". in fact, I just
might look her up on you tube ! I feel an artist has their life to nail on
the stage
every time they express from their soul.your life IS your dance/art.
without "life", the dance is just wasted movement, a hollow prayer.
sincerely,
Cory Zamora
Fresno, CA
6-19-08
re:A Moment with Amy Sigil, interview
and videos and letters below
WOW!
Barbara Grant’s letter was scathing to say the least! Ms.
Grant’s assessment of Ms Sigil’s life offended me deeply.
Why must women continue to judge one another so harshly? Ms. Grant’s
comments sounded so bitchy and jealous. I don’t think I’ve
ever read anything so un-Christian, un-forgiving and judgmental. I think
the old platitude applies, “walk a mile in her shoes”. Of
course, that’s how Ms. Grant “reads it” and she has
a right to draw her own assumptions, but beware the concept of assume.
I was intrigued by Ms. Sigil’s dance and so pursued some of the
postings of her on You Tube. I have to say, I was knocked out! How creative,
innovative and fun! I call that real talent. I look forward to being
able to catch a live performance. While I don’t consider what she
does “belly dance”, it was, no doubt about it, great performance
and excellent technique, some of the most exciting dance I have seen
lately. Personally, I don’t care about her love life, her child-rearing
arrangements or much else. I applaud her triumph over adversity and I
appreciate the fact that she is in the public eye to contribute to the
world of dance.
Shelley Muzzy/Yasmela
Bellingham, WA
6-18-08 re:A
Moment with Amy Sigil, interview and videos and letters
below
I saw Amy and her group perform when
I was teaching at Tribal Fest last month and I have just read
her interview on here. I am thoroughly impressed
by her dancing and choreography. I loved the artistry, the athleticism,
the humor and the skill. I also appreciated her candor in the interview.
It takes courage to tell one's story in such personal details and I
am sure that this has touched and inspired many people. Many
great artists
have had a difficult journey and once they have dwelled in the belly
of one beast or another, they never see life quite the same again.
I believe that those who have come out the other side are supposed
to help
others in their struggle. Some do it by words, some by art, some by
how they live their lives. Amy is doing all three. If she had
spoken of her
lover and "she" had been a "he" nobody would have
batted an eye. Her journey is about overcoming adversity, learning
valuable life lessons and becoming triumphant in the end and I found
it well worth
reading about. I am sure our paths will cross again and I look forward
to getting to know her better then.
Artemis Mourat
Washington, DC
6-18-08
re: Tito Seif: Moment of Eternal Shimmy
by Stavros
I have to say that this guy is one of the most amazing dancers
I've ever seen.His command of melding the movement and music into one is
unparalleled! I should be so lucky to dance half as well as he does!
That being said, I still find, despite all the over-florid overdone style of writing in the article, about how he maintains a masculine style, that when he does "orientale, his style is that of a female oriental dancer. When he does tahteeb or the balancing stuff, it's definitely male folkloric. But the minute a guy starts to do orientale, despite how fantastic they are (and this guy IS!) I start to feel like "there's something wrong with this picture". My dance upbringing is such that I was taught that this is a woman's dance.The movements, like us, are curved and rounded. The "homeland of the dance" is the pelvic girdle. There's a reason men never did orientale - it just looks too feminine on them. Doesn't matter who they are - Bobby (Ibrahim) Farrah was one of my main teachers, and when he was teaching us orientale, sometimes he'd have one of his female protegees do the same move. On her it looked great. On him, despite how well he did it (and he was a great dancer), it looked out of place.
Now I'm sure I'm going to get a lot of dissenting opinions and kaka thrown my way for expressing this,and not for one minute am I saying this man (or other men) aren't good dancers - but there are moves that look better/fit more naturally on a man's body and moves that look better on a female's body - vive la difference!!
Pauline Costianes (Ghalia)
Canton, MI
6-18-08 re: Arab
Defamation in the Media by Najia
Dead on target & well written - as usual. Been saying the same
things for over 47 years...Now: how many dancers do you think will
even listen
to us?
The Truth WILL Set You Free,
Morocco
6-18-08
re: Arab Defamation in the Media
by Najia and Not for Cinderella- The Glass Dance Tasha
Banat
I found
it ironic that the two articles I chose to read tonight were "Arab Defamation in the Media" and "The Glass
Dance". The first one pointed out the horrible insult in some Arab
cultures of showing the soles of your feet. The second one had a picture
demonstrating the dangers of dancing on glasses - with a bleeding foot
pointing at the reader! An interesting irony....
Hiya
San Jose, CA
[ed-note-- Shall I take it down? Its a dumb picture anyway...]
6-18-08
re:A Moment with Amy Sigil, interview
and videos and letters below
Hi!
As an out and proud lesbian bellydancer, I truly enjoyed
reading Amy Sigil's refreshingly candid interview and I found the strongly
moralistic
reactions of certain readers' to the disclosure of Ms. Sigil's orientation
and lifestyle choices quite ironic considering the attitude that our
society holds towards bellydancers' is very similar to the ones held
about lesbians (it's not something that good girls do).
The only objection that I had to the interview was Sigil's assertion that more gay women are attracted to the "more rebellious" tribal style than cabaret because they can "put more of their lifestyle into tribal dancing". Every woman's life experience plays a part in the dancer's path that she chooses and each is unique and beatuiful in it's induviduality. Raqs Sharki speaks to my life experiences as a lesbian woman of color and a woman with curves and it dosen't make me weaker in strength of character and inner fire than my tribal sisters.
Namaste,
Eve
Albuquerque, New Mexico
6-17-08
re: Arab
Defamation in the Media by Najia
I am more than a bit surprised that in Najia's
discussion of " The
Arab Mind " she neglected to mention that this is a controversial
book in both the academic and political sense.
Academically, the basic premise (that there is a generic " Arab Mind " and a generic "Western Mind " and that the members of each group think like all other group members regardless of factors like local culture, level of political power, and economic situation) the methodology (heavy on anecdotes and hearsay, short on academic studies) and the author's conclusions (for instance, Patai took the child rearing practices of one Bedouin group and extrapolated them to all Arabs) have come in for quite a bit of criticism.
While it's understandable that Najia may not be aware of the grumblings of academics, it's strange that no mention was made of the book's recent history. During the Abu Ghraib scandal it came to light that much of the prison's policy was based on the picture of Arabs painted by Patai's book. In the introduction to the 2001 edition the Director of Middle East Studies at the JFK Special Warfare Center and School at Fort Bragg writes: " At the institution where I teach military affairs, 'The Arab Mind' forms the basis of my cultural instruction ". Patai's book was mentioned a great deal by commentators on both sides of the political fence, and the accuracy of " The Arab Mind " was hotly debated. Najia's statement that Hollywood Arabs "may encourage our leaders to promote unrealistic expectations and erroneous assumptions while negotiating with the various predominantly Muslim countries" before recommending " The Arab Mind " as a guide to cross cultural understanding seems bizarre given its recent turn in the news.
There is nothing wrong with recommending academically controversial works. But potential readers should be made aware that the book they're reading is controversial, and the conclusions are still up for a great deal of debate.
Regards
Inaras
Bremerton WA
6-16-08
re: Arab Defamation in the Media
by Najia
“The stereotypical Arabs that Hollywood most often presents are embarrassing
and harmful because they may contribute to some of the errors in judgment
that some of our key political leaders make. These erroneous images,
seemingly funny to some, may encourage our leaders to promote unrealistic expectations
and erroneous assumptions while negotiating with the various predominantly
Muslim countries.”
Wow. Although these statements are very qualified with many ‘may’s, I have to disagree. I would be horrified if any political leader based any decision or negotiation on Hollywood images. While the average news anchor may not be educated in Arabic and Muslim cultures, our “key political leaders” certainly are. What may seem an ‘error in judgment’ is far more likely to be a very calculated and fully conscious decision. I won’t even touch on Ms. Marlyz’s comment about women in politics, except to say that I absolutely disagree.
That aside, I agree that it is important for dancers to learn about the origins of the dance, as well as the culture. I also agree that some dancers unknowingly offend their audience due to their lack of knowledge. I am lucky to have an instructor who has taught me much about Arabic cultures, including what would be deemed offensive to an Arabic audience. “Know the rules before you break them” is something she says frequently. I will definitely read the book Ms. Marlyz recommends.
Emily Andrews
Salinas, CA
6-14-08
re:A Moment with Amy Sigil, interview
and videos and letters
below
Dear Lynette:
Though I understand the objections of the correspondents, below, who
argue that too much personal information was offered in the piece on
Amy Sigil, I don't agree that it is irrelevant to the discussion. The
artist clearly wanted the audience to know of her personal background;
otherwise, she would not have discussed it in such detail.
Here's how I read it: Woman flops down with two men, gets pregnant by each, and (effectively) throws both children over the wall for someone else to take care of. As a free woman, unencumbered by the lives she has created, she pursues her business--cutting edge art, by all accounts--while the father of her second child is busy looking after not only his own biological daughter, but Amy's first child, as well. What an arrangement!
While Amy's beau plays "boi" and holds doors
open in the gentlemanly fashion of a bygone age, Father #2 does the
real man's work as he is
the only one in this narrative who appears to take responsibility. He
alone demonstrates any manly characteristic, or indeed, any courage,
worthy of mention.
Sincerely,
Barbara Grant
Tucson, AZ
6-14-08 re:A
Moment with Amy Sigil, interview and videos
Thank you so much for your candid article and the wonderful videos.
It's refreshing and important for the bellydance influenced world to
have honest and open dialogue across genres. Your readers deserve your
commitment to the precious diversity our dance-style cultivates not only
in technical and historical knowledge, but in the dynamic living cultural
experience of our shared dance and lives.
Aja
Utah USA
6-13-08 re:A
Moment with Amy Sigil, interview and videos and letter
below
Hi Lynette,
Like Pauline, I waited a while to respond to Gilded Serpent's article interviewing
Amy Sigil. Like Pauline, I think it included way too much personal information
unrelated to Middle Eastern Dance. Unlike Pauline, however, I AM into Tribal
in its various forms, as well as AmCab, Egyptian Nightclub, Egyption Folkloric
and Zambramora forms of belly dance. And I lived, worked, and belly
danced in San Francisco for two decades and I sport no less than five tattoos
and one belly ring! With all that, I still have to agree with Pauline's
assessment of the article, although she's incorrect about Bay Area not
having any laws about public nudity!
Yours in dance,
Nisima
Pacifica, California
6-12-08 re:A
Moment with Amy Sigil, interview and videos
Hi!
I've
waited a few days after reading this article before I responded.
I have to tell you that I
found it distasteful. If you wanted to have
her talk about her dance journey (even if I can't stand tribal/goth
all that ugly/black stuff) OK. But when it started going into her
personal
life, talking about how her girlfriend acts the "boi",
that's when it crossed the line into Too Much Information - and totally
irrelevant to dance. I suppose those who live in San Francisco and are
used to the naked parades (guess there's no laws against public obscenity
there) and all the gay culture have to problem with this. But being that
this site is viewed nationally, you have to remember that some things "don't
play well in Peoria".
Not to say that metro Detroit is a small, closed-minded town. But
there's just some things that need to stay private, ya know?
Pauline Costianes
Ann Arbor, MI
6-12-08 re:A
Moment with Amy Sigil, interview and videos
I have always been a very
big admirer of Amy and Umata and was thrilled to get some insite as
to who
she really is as a person and how she developed into the amazing performer
and artist that she is. I am now even more impressed that she was able
to pull together some really hard times in her life and step out into
the world with such a wonderful gift. I wonder if her daughters will
ever join her in dance…ahh…maybe another chapter in the future.
Sincerely,
Salima Sisli
Lafayette, CA
6-7-08
re:A Moment with Amy Sigil, interview and videos
Lynette,
Thank you for your powerful and inspiring interview with Amy
Sigil.
She is by far one of my favorite dancers, and it was refreshing to learn
more about her through both ink and film. I had no idea what personal
challenges Amy has over come, and she truly is a shining example of triumph
over tragedy.
Amy is a true dance pioneer, and I hope that others striving to achieve her level of success, will also follow her lead with regard to professionalism and will just stop with the bitchfest. Nobody likes a whiner.
Amy, thanks for being so honest and open about your past, present, passion and perseverance. You are a true inspiration!
Surreyya
Pinole, CA
6-6-08
re:The
Egyptian Dance Code by Sausan
Thanks!
I have noticed how arabs accent the beat differently, saidi especially.
this is really going to help me in my dance!
by the way- The video clip
hides text.
Tara
India
6-5-08 re: Welcome
to the Gothla! Dancing Along the Sulk Road Review of 3 DVDs by
Rebecca Firestone
Hello,
I'm writing to let you know how deeply offended and disgusted I
was with the review by Rebecca Firestone on three Goth Bellydance DVDs.
It
was poorly written, lacked any objectivity whatsoever, and showed a thorough
lack of knowledge on bellydance, gothic art and culture, and frankly
how to write a review. Most of it seemed like self indulgent personal
attacks on individual dancers, which is a black eye on the Gilded Serpent
that you would allow such unveiled and unprofessional rudeness to be
published on your site.
If your reviewer had said that the DVDs weren't good, that would be fine. If she had said that the performances weren't good, that would have been fine too. But instead she made childish remarks about fast forwarding, the choice in backdrops, the dancer's diets, their skin color, and the very genre itself that only displayed her own ignorance and incompetence. I have to wonder with all her over emphasis on plots and storylines if this woman has confused bellydance with pantomime.
I'm not a goth. I'm not even Tribal. I'm one of those well trained Cabaret dancers with all of the requisite technique and traditional background that Firestone considers paramount. And I am sickened by this article.
I hope you realize that one of the dancers on this DVD was Asharah of Washington DC, who is teaching at Spring Caravan this Saturday. I wonder if your reviewer was aware of the fact that not only is she well trained and certified in the Suhaila Salimpour technique, she minored in Middle Eastern studies at Princeton and understands Arabic and spent most of her childhood as a highly disciplined figure skater. Her artistry is exquisite, her technique impeccable, and yet because the genre of goth is where she's finds her inspiration, she has been clumsily mocked by your inept author.
From the storm of anger that I have seen online already, it appears that this article has done more damage to the reputation of the Gilded Serpent than it would have ever done to three goth DVDs.
Respectfully,
Suzanne
Philadelphia PA
6-4-08 re: Welcome
to the Gothla! Dancing Along the Sulk Road Review of 3 DVDs by
Rebecca Firestone
I LOVED Rebecca's witty review. So refreshing instead of the
blah blah blah that we usually read. Perhaps the objectionists are right
though,
maybe we need a review written by a participant. I for one was intrigued
by her comments and thought she did an admirable job. It was a fun read.
Its very difficult to review bad videos and find something redeeming
to say other than "Bad DVD" and leave it at that. Such a fuss, but
that is to be expected. The newbies to an art form seldom have time to
develop a sense of humor or a thick skin. I myself am always jealous at
Rebecca's reviews that I didn't write them. Clever clever clever. I can't
help but agree about the bad modern dance analogies and also wonder why
some of these "forms" choose to call themselves "xyz bellydance" when
they don't even have basic technique. As I have said before, even Picasso
knew how to paint in the conventional form before he broke the bounds.
And good showmanship is not self-absorbed nor is it so exclusive and
obscure that only a few chosen initiates can understand or perceive it.
And you
can print this if you like...or not!
Shelley/Yasmela
Bellingham, WA
6-4-08 re:The
Egyptian Dance Code by Sausan
Hi Lynette,
I'd like to comment about Sausan's
article where she says that "Egyptians
can't really teach" their style of dance. Does this mean that all
the weekend workshops in Dallas I have taken in the past two years with
Lucy of
Cairo,Fifi Abdou, Randa
Kamel, Bebe and Dr.
Mo Gedawi - all very
well established Egyptian dance stars and teachers and each with their
own signature style are not going to provide me with the skills I need
to learn to dance in that style?
The fact is learning from an Egyptian IN PERSON was so much more effective
than any video I've ever watched because a) it is 3-D image, not the
two dimensions of a video, and you see the complete movement and b) each
one
of these Egyptian teachers provided direct and immediate feedback; whether
through an interpreter or their own English skills. This feedback was
immediate, personalized and warm; even when "correcting" a
step, posture or combination, they exuded that famous laid-back charm
and sense of humor
that I have grown to love about Egyptians. I never felt left out even
with more than 100 attendees in a workshop and even if I didn't ask a
question,
they were quick to observe the students in a workshop and would come
right over anyway!
I agree with Sausan when she says one can spend decades watching videos
to learn the "Egyptian style" and I'm not sure how long it takes
to learn Sausan's "Egyptian Code" but one thing I am sure of
is this: There is no substitute for learning directly from an Egyptian
dancer; the culture comes across so much more powerfully in person. If
I can't go to Egypt and immerse myself for a year in the culture of this
dance, then I will continue to take as many workshops from Egyptians
when they teach here.
Yours in dance,
Nisima
Pacifica
6-1-08
re: Welcome to the Gothla!
Dancing Along the Sulk Road
Review of 3 DVDs by Rebecca Firestone
I just want to express my feelings after having read Rebecca Firestone's
so call reviews on gothic bellydance DVD:s. She only said one good and
true thing, that being she shouldn't have been the one writing those reviews.
She obviously has no adequate knowledge of the phenomenon she's trying
to describe.
Such contempt and malice poured over an art form disguised as "reviews" is not very commonly seen, thank goodness. The article reveals either total ignorance or a personal agenda against gothic bellydance, or perhaps the dancers themselves. However, this was a really poorly written and badly conducted review. Rebecca hasn't bothered to make a background check on facts, thus making fatal errors such as going on about Tempest "calling herself the Gothmutha" (which is totally wrong, OTHERS call her that). The remarks on the artists' looks and technique are really embellished personal opinions poorly disguised as "critisizing an art form". One could say "I didn't like these DVD:s" in many ways. Rebecca has chosen the worst way ever seen. I'm not saying she's not entitled to her opinion. I just can't see the point in expressing it the way she did. She obviously seeks to offend the GBD community with this strange and mean "review". Well, she didn't really offend me, but she made me wonder how low one can sink and still get published. Perhaps you should go for someone who can write critisim and still not sound like an angry teenager.
Callisto Utriainen
Gothenburg, Sweden
5-19-08
re: May 11 letter below
Dear Lynette,
I would like to comment on a Letter to the Editor written by Frank Farinaro on May 11. In this letter he makes the claim, "I am Colorado's first professional male bellydancer. I have been dancing for over 2 years now & have loved every minute of it!!!" He also mentions that he will be auditioning for Bellydance Superstars for the second time this year, which means the first time he auditioned he had only been belly dancing for one year!
It is appalling that one can claim to be a "professional" dancer (in any dance form) with only 2 years of training. Is this a reflection of the broad definition of the word "professional" in the belly dance community, where hobbyists of only a couple of years can be booked for paid performance jobs? Is this a reflection of the low standards of our dance form as a whole (because one could never make the claim to be a professional ballet dancer after only 2 years of training)? Or is this a reflection of the lower standards for men in dance? Most dance forms like ballet, modern, and jazz have exponentially higher numbers of women than men. Due to their low numbers, men are a commodity in dance, and often men are able to get positions in dance companies and roles in various types of shows and other performance venues when they are much less technically skilled and experienced than scores of females. I sincerely doubt that any of the Bellydance Superstars have been belly dancing for only 2 years.
Although most Arabs think it is culturally unacceptable, I am not opposed to men belly dancing. After all, America has indeed appropriated belly dance as its own; it has thus evolved into an art that reflects American cultural and aesthetic values. However, I can only hope that we will hold men to the same standards that we hold our female belly dancers and not allow a man to perform in a situation where his technique, artistry, and understanding of the dance does not reflect the MANY years of intense training and study that this dance form requires to achieve a true professional standard. Rather than men being established as important contributors to the community, they will be resented for lowering the standards and simply viewed as a novelty. And we all know that novelties do not last--they simply fade away when the next fad emerges.
Sincerely,
Candace
Dallas, Texas
5-15-08
re:Opening
a Bellydance Studio, Tips for Success by Keti Sharif
I just wanted to take the time to tell you thank you for some excellent
advice on starting a dance studio. You have pretty much covered all the
basics to getting started. Tampa Bay Ballet is an emerging dance studio
and company. We appreciate Keti's thoughts and advice and just wanted to
say thanks!
Sincerely,
Lindsay Latham
Director, Tampa Bay Ballet
Florida
5-15-08
re: news
item on front page
Hi Lynette,
I wanted to comment about the news item submitted by Catherine about
men applying for permits to perform belly dance (in nightclubs)
in Cairo that were turned down, flat by the Cairo Dance Guild.
And I
want to make it clear that we are talking "Raks Sharqi" or "Oriental
Dance" - not any sort of folkloric style such as Tanoura or
traditional stick dance.
I am constantly amazed that we in the West feel free to criticize another culture
for operating on it's own standards. Why are we so surprised that the Cairo Dance
Guild flatly turned down all the applications from male bellydancers, when in
fact the female bellydancers in Egypt have all sorts of legal requirements of
covering midriff with body stocking, risk being fine for choreo that is considered
too risque, etc.etc. More controversy is only going to make things tougher on
the female bellydancers in Egypt.
And, I'd like to point out that we in the West should look to our own "glass
houses" before throwing any stones; after all,when is the last time anyone
saw a male ballet dancer in a tutu and pointe shoes performing the lead in
Swan Lake?????? Unless it was a comedy or advertised as a total counter-culture
type
show, the ballet world doesn't present ballet as a genderless, androgynous
dance art form. And other Western ethnic dance forms have clearly defined gender
based
costuming, moves and roles; Flamenco, Tango, Irish step dance. And Polynesian
dance forms are firmly rooted in their cultural customs, roles and standards.
So I ask, why isn't it okay for Egypt to hold to their standards for THEIR
dance art form in THEIR country?
Yours in dance,
Nisima
Pacifica, CA
5-13-08
re: The Ancient Art of Keeping
Your Mouth Shut by Neon
While I agree with the initial premice that on-line groups often
sharpen their claws too often at meow-fests, I believe that Neon went farther than necessary into the murky waters of freedom of speech.
As I understood her article, she would like to put Gilded Serpent
out of business ;) No peer-critiqued product reviews, no thoughtful
discussions of trends in style by those in a position to judge.
Do readers only want to read bland positive "Atta girls?" I
thought they wanted to see both sides of a subject and hopefully
learn something.
If all the big name artists take Neon's words as gosple, anyone with experience worth listening to would lay down their pens and go into verbal retirement. Heaven forbid we might offend someone, somewhere, in a future near or far. Being a good critic - or journalist - takes time, practice and experience in the field. She says we are insular - so who else to impart knowledge than the ones who have "been there and done that"? Apparently commercial considerations are more important than passing on knowledge.
Oh well. My future is screwed... but I knew that anyway.
Yasmin
Washington DC
5-11-08
re: Valizan
Interviews Ozgen for the Gilded Serpent
Dear Gilded
Serpent,
My name is Frank Farinaro, & I am Colorado's first professional male
bellydancer. I have been dancing for over 2 years now & have loved
every minute of it!!! Bellydance has truly changed my life. As I'm sure
you know, men are the minority in the bellydance scene, so support & recognition
are a very important & appreciated gesture that is sought by us
from the bellydance community.
I have been following the YouTube interviews lately & I want to
thank you from the bottom of my heart for doing such a service to the
male
bellydance community by doing the interviews on male bellydancers at
the International Conference in Canada. It really encourages male bellydancers
to keep working hard at what we do.
This year, I am auditioning for Bellydance Superstars for
the second time, & I am as motivated as ever. Although I am dissapointed
to be missing out on what would of been my first Tribal Fest this year,
I am so excited to be auditioning again.
What the future holds for me... time can only tell, but I do (someday)
hope to be the first male signed to Bellydance Superstars & support
from Gilded Serpent as well as the bellydance community keeps my backbone
strong & my head held high! I will keep bellydancing & making
a good name for male bellydancers for as long as I live... or at least
posses the ability to dance.
With respect,
Frank Farinaro
Colorado, USA
4-27-08
re:
Howdy Lynette, re:The International Bellydance
Conference of Canada.
Thank
you for being so cutting edge! How I enjoyed viewing these clips. Keep
up the good work.
with love,
Stasha
Berkeley, CA
4-27-08 re: Divorcing
Bellydance from Burlesque by Miles
To The Editor of The Gilded Serpent:
Miles Copeland's enormously self-important declarations on The State
of Bellydance and The Enslavement of Arabic Women in his recent
article in The Gilded Serpent--and then his follow-up letter to The
Editor--would be laughable if they weren't so very dangerous to
Bellydance, artistic development, artistic freedom, and womens' equality.
Mr. Copeland posits himself as a wise Pasha who sits at the center of the Bellydance world, and he presumes to predict many other peoples' behaviours based on his vast knowledge of the intricacies of The Arab Mind--which he apparently believes is a single, evil entity, still trapped in ancient times. The truth about what's going on in all the Arab countries is, happily, radically different than Mr. Copeland's understanding.
Yes, many Arabic
women are still gravely oppressed; certain ancient practices and beliefs
keep many women in religious, social and
economic servitude---but for every knee jerk Jihadist, every Muslim
traditionalist, there is an equivalent member of the population
embracing the Western values of equality, liberty and justice for ALL.
This is true in the economy, in education, across every level of
society, and in the arts. Jihadists and extremists get all the press,
but one has only to stop for a day in Dubai to see the way
Western values have taken hold, of which concrete
manifestations are literally being carved out of the sea and sand.
This is true across the Arabic society, mentally and physically.
.
Great leaps forward in art are always thought of, on some level, as
shocking and/or obscene. Picasso's paintings were shocking and banned.
Lizst was
considered shocking and insane. Oscar Wilde was imprisoned for
obscenity before he became one of the most famous playwrights in the
Western world. Henry Miller was banned for obscenity before he became
a bestseller, and so on. Because dance is an art form that is enacted
by bodies in motion, it is always, on some level, shocking and
provocative, even when the dancers are fully dressed. And
dancers who truly expand the boundaries of the art are the most shocking,
because they are doing something
with the art that has not ever been done before, whether it is a
triple piroutete a la Barishnakov, soaring for so long and so far
across the stage that the audience believes the dancer to be on wires,
like Najinsky... tapdancing up the side of a building, like Fred
Astaire. Isadora Duncan was also considered shocking and obscene
before she became wildly famous and influenced generations of dancers
and choreographers. So, too, were Jerome Robbins and Bob Fosse.
Now, they are Icons of Western dance.
Princess Farhana (Pleasant Gehman), who has been an international ambassador for American Bellydancer, and who has influenced thousands of people with her art and craft and talent around the globe, stands in this long, glorious line of path-breaking dancers who have elaborated upon the boundaries of their art, and of artistic expression in general. But because we live in an age in which performers engage in far far more provocative behaviours on stage and on screen than Princess Farhana ever has, no one would dare call her--or any other traditional Bellydancer or Burlesque dancer--obscene. But Mr. Copeland seems to have some kind of a vendetta against her, although it's unclear why, exactly, he believes himself to be the one individual who should decide what is "appropriate" or "correct" for Bellydancers. To try to censor Princess Frahana, or any other dancer who is engaging in any kind of dance, or creating new forms of dance based upon ancient principles, turns Mr. Copeland into exactly the kind of Oppressor he claims to be protecting Arabic Women from. And excusing his absurd position by claiming to protect dancers for both economic and moral imperatives is patently absurd. This is a slightly more innocent version of the kind of dangerous false rhetoric Terrorists engage in.
Mr. Copeland is conducting his Own Private
Jihad, and it is being
aimed at everyone in the Bellydance world in general--and Princess
Farhana in
particular--all of whom have done nothing but tirelessly promote
Bellydance
and Freedom of Expression, and through this, the equality of women.Pretending that any little linkage of Burlesque and Bellydance will
have
grave deleterious effects to Arabic Women Artists, and believing that
audiences are phenomenally stupid and can't make any kind of
distinguishing artistic judgments on their own, Mr. Copeland takes
many steps backward in time, and hurts everyone: Dancers, audience,
and, yes, his own credibility.
Respectfully yours,
Sammi Khouri
London, UK
4-25-08
re: Divorcing Bellydance from Burlesque
by Miles
Miles, while I'm sure you have the best of intentions, the idea that you
can support freedom of expression for women in the Middle East by limiting
the freedom of expression for women in America is a ridiculous assertion.
If women in the Middle East are permitted to practice and perform bellydancing
ONLY if it is seen by the powers that be as "respectable," then
that is not truly freedom. Women in America have true freedom because
we can choose our own forms of expression, regardless of whether other
people consider our expression to be "respectable" or not. As
soon as there is some outside force acting as the respectablity police,
deciding for us what is tasteful or vulgar, that is the end of our freedom
of expression. Putting ourselves in cages here will not help women elsewhere,
but it would certainly hurt us.
Bombshell Betty
San Francisco, CA
4-25-08 re:
Divorcing Bellydance from Burlesque by
Miles
A performance artist of any kind is capable of multiple diciplines. An
artist must maintain freedom. What I find most offensive about your article
is the suggestion of blacklisting any seasoned performers/producers within
our community. It's bad policy in general. It's unAmerican! It's McCarthyism!
It's Victorian repression. Miles
just wants to control
us.
After my years of experience and service to bellydance and the empowerment of women, is Miles going to blacklist me because I am sponsoring a day of burlesque with Princess Farhana at my Belly Dance Retreat 2009? I believe in freedom and education. I am sponsoring that day because I want dancers to be educated, not weak and meek minded. It?s women?s history.
I'm not a burlesque dancer and don't suggest mixing the two in traditional Middle Eastern bellydance forums. A professional knows to gauge for specific venue or audience. I think Aphrodite-minded women who are attracted to bellydance may also be attracted to burlesque. I've come to realize it's as much an art. Independent minded, wild spirited, feminine women are important to the universe and, really, could you live without us?!
I always thought the one ingredient the BDSS show lacked, was the Super Star. They needed a diva to bring the house down! You bring us well executed, behaved dancers, but where is the edge? I always pictured someone with curves, pizazz and the charisma of Tina Turner.
Clearly, Miles has
no idea what neoburlesque is. I found it disarmed my preconceptions. Acts
were done by women of all ages and sizes being sexy, funny, and very adept
at holding the audience's attention. This wasn't about being nude - it
was celebration, creation, dance and the art of anticipation. Moms were
in the back room helping daughters get dressed! The audience seemed a
lot like a bellydance audience but with defiance in the air. These women
would not have
flocked to the stage 10-20 years ago! What?s going on? They crave personal
empowerment and control over their body and life - very much like bellydance!
Additionally, the 4 year BDSS tour isn't the root of bellydance growth. It's taken generations. Miles did not discover bellydancing the day he walked into Rakkasah, and perhaps hasn?t discovered it at all. He still doesn?t get why so many women love this dance.
The culture at large misses the fact that bellydance is deeply personal for women. Within its subculture, we are released from the slavish edict our popular culture dumps. ?Women are only valuable if they are young and skinny? - a repressing myth BDSS still perpetuates. Women will always be repressed as long as men dictate and manage our physical power.
We have had over 30 years of proving to the Middle East that bellydancers are not prostitutes. Bellydance has become a beloved art form worldwide. The attitude in the Middle East remains largely the same.
We are not going to liberate women ANYWHERE by blacklisting (black cloaking?) the freedoms of our own.
Delilah
Seattle, WA
4-25-08 re:
Divorcing Bellydance from Burlesque by
Miles
Having just finished a tour of Guatemala as the Bailarina Zaina
Zahesha, I can say that I agree with Miles on how important it
is to be careful how we present our dance. This past January I was seen
auditioning at the Ethnic Dance Auditions in San Francisco by a representative
of the Arte Cenro Cultural of Guatemala City. They invited me to go to
Guatemala to perform and teach for 10 days, which I did with Susu
Pampanin as my accompanist on percussion. I was treated as if
I were a prima ballerina, which after so many years of performing in this
genre, made me want to cry from the accomplishment. For those of you new
to this dance, 10 years or less, you may not know what those who have
gone before you have had to put up with. I have made my living as a Belly
Dancer for many years and have never had the respect that other professional
dancers receive. In Guatemala we were presented as accomplished artist.
We performed with concert pianist and modern dance companies. (In fact
we were the headliners of these). Why is this a novelty instead of the
norm? How is it that we are, at last, achieving some level of respectI
feel it is because we have fought for many, many years to earn the respect
that other artist and dancers enjoy. For to long we have been perceived
as Middle Eastern flavored strippers. I am not saying that stripping and
burlesque cannot be an art, because I believe that it can. I am saying
that until you see burlesque dancers on posters with ballerinas; let’s
keep it separate. I, for one, am grateful for at last getting the respect
that dancers from classical dance forms have been receiving all these
years.
TerriAnne
Gutierrez
aka Zaina Zahesha
San Francisco
Bay Area
4-22-08 re:
Divorcing Bellydance from Burlesque by
Miles
I truly find it fascinating that elements of the bellydance community
that has so often offered criticisms about me and the BDSS that are totally
without merit from people who never even saw the show, take offense at
critique put forward by me about the dangers of advertising a show linking
burlesque and bellydance. I can assure Pleasant
I have no way of judging the specific show and was not doing that. But
I did see the advertising and therefore I can comment on that specific
aspect of the show which is what I did. If the inferences were in fact
misunderstood by me and the show itself harmless that is indeed the point
I am making. Advertising that can be misinterpreted negatively will be
and that is the danger.
I am the first to encourage creativity in artistic pursuits and breaking the rules and I have done this as a career. But unlike any other dance form, Bellydance is in a unique situation as many people, if not most, in the community recognize. That uniqueness comes from two directions. The longstanding public perception of the dance in the Western world and the low esteem the dance has been held in generally and the wish of may to see its status improved for the good of all. Secondly the extremely low esteem it is held in in the region of the world that it started and the detrimental affect this has on the art and the women who do not engage in it is a career pursuit because of this. With the ever mounting conservative pressures in the region we are in danger of witnessing the termination of the art as something Arab women can pursue even in Egypt.
The most important point is this fact. The Arab world, for good or ill, gives value to something that succeeds in the West. Bringing Saad al Soghrier to the US to perform, and the videos I did with Hakim dueting with Western stars saw both artists have huge increases in their fees for their shows in Egypt BECAUSE there were perceived to have been accepted in America. The same can happen for the art of bellydance in Egypt. As it rises in status in the US so will its status in the Arab world. But the Arab world is now caught up in the age old dilemma of what is "proper" and what is not for women. The trend is unhappily not towards liberalization but the opposite direction making it all the more difficult to affect change. One thing for sure, if bellydance in the west is associated with anything remotely connected with nudity (true or not) then bellydance will suffer in the Arab world and we will see no new Arab dancers enter the business.
The BDSS just performed in Dubai with great success, and on this weekend in Cassablanca, Morocco.