Letters to the Editor

Email the Snake editor@gildedserpent.com Thank you for contributing your personal opinion to the Mid East Arts community through The Gilded Serpent! Please keep your letters concise, under 500 words , If that isn't possible, consider writing an ARTICLE. Written to "the editor" (as apposed to another letter writer!) and about an issue discussed on this site! If that isn't possible, consider writing an ARTICLE. We regret we can't print all letters to the editor. We encourage free discussion at our tribe site - tribes.tribe.net/gildedserpent Please include your name, hometown and country. Please proof your message before sending. All opinions expressed here and elsewhere on Gilded Serpent are not necessarily the opinion of the editors and publishers. Our aim is be a forum of personal expression for the promotion of excellence in the Middle Eastern Arts. Any letters sent to editor@gildedserpent.com will be posted at our discretion. Confidential messages should phoned to the editor at 415-455-8455.

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. We have become very aware that the image we project must be very precise and we have a responsibility that goes beyond our one show. We feel that the art of bellydance CAN in fact rise in respect in this part of the world and we will all benefit from it. It is only fair that Arab women should one day have the freedoms of women in the West when it comes to artistic expression. They do not have this now. I simply ask dancers like Pleasant and others to be careful how you use the word bellydance in your advertising which is where most people will see it. Advertising reaches far more people than ever see a show and advertising is 100% about leaving an impression. If it does not it is not good advertising. You can complain all you like but there is a price to pay for the linkage of burlesque and bellydance. Admittedly it is a price that is more likely to be paid by Arab bellydancers than Americans but it is a price we should at least admit and try to do the right thing. It is unfair and I agree, but it is a reality and it is a subject of valid discussion and Gilded Serpent did the right thing delving into the matter for us all to think about.

Miles Copeland
Sherman Oaks, CA

4-21-08 re: To Buy or Not? Guide to Mass Market DVDs Yasmin
One of the best articles I’ve ever read in my life. I couldn’t agree more with Yasmin’s comments. She is truly an expert on buying bellydance videos. Having purchased a lot of horrible videos and only having given them to friends, I am more determined to follow Yasmin’s advice. Those videos were a waste of money and very disappointing. Now that I have such good advice, I’m now prepared with my next video purchase. Thank you Yasmin and Gilded Serpent.

Sincerely,
Gilded Serpent fan, Marie A.
Los Angeles California

4-19-08 re: MECDA Breaks its Silence by Rachel Soto and Just the Facts:Response to MECDA by Doyne Allen
Marta Never Had a Silence To Break!
In my forty years of involvement with Middle Eastern music and dance, I have come to know many, many of you, both professionally and personally. One of the proudest achievements of my life has been the co-founding of MECDA, and the building of that organization into a national association, serving dancers across the country.

If I had wanted to ‘make money’ from MECDA, I would have done so long ago. My sole intention throughout the years was to make money for MECDA, so it could continue to thrive and grow.

In the past two years, there was divisiveness in the organization on a scale unheard of in the past. The last election was enveloped in a bitterness that threatened to fracture the unity of the community. The results of the elections were decisive, and it was my hope that we could move forward. These hopes were soon shattered, as I outlined in my letter responding to the MECDA Breaks Its Silence article by Rachel Soto.

I feel it is very important to make the public aware that MECDA is suing me! I was served with a lawsuit accusing me of stealing ‘trade secrets’ from MECDA. No one signed the summons to identify themselves as the individual(s) who verified the ‘facts’ given to the attorney serving me. Since that is the case, it is as if the entire organization of MECDA has brought the lawsuit – yet, when I speak with members, they know nothing about it. I want MECDA members to know this is how the Board is spending their money, instead of providing the Cymbal Digest in the Chronicles, an Anniversary party, or the annual MECDA Directory.

I have come to consider nearly every MECDA member my friend, and a companion upon the journey to unify and to gain deserved respect for our beloved music and dance. My heart is made very happy by those of you I see at various venues, and the ones living too far for us to meet, I miss dearly.

I am now embarking on fresh collaborations with promoter Miles Copeland. Please know that although the circumstances are new, my intentions are absolutely the same; Our festivals will welcome all levels of ability, all dance styles, all age, size and gender. We are inclusive, not exclusive, and will create venues to celebrate all aspects of Middle Eastern dance arts.

I hope we will all be together soon.

… One remaining issue from my previous affiliation with the current MECDA Board: I would like to publicly apologize to anyone who somehow believed that Doyne Allen was involved in the “Concerned Committee’s” alleged acquisition of the MECDA membership list, which is confidential. There is proof that the “Committee” had used the list, but I never said (nor imagined) that Mr. Allen was responsible, simply because he had no access.

Sincerely,
Marta Schill
Sierra Madre, CA

4-18-08 re: Divorcing Bellydance from Burlesque by Miles & When the Hip Hits the Fan by Princess Farhana
This is a very interesting conversation. There was recently one very similar to this in one of the burlesque message boards I belong to, only it was talking about the association that burlesque has in the eyes of the public with strip-club strippers, i.e. poledancers. I wrote about this in my blog here: http://bombshellbetty.wordpress.com/2008/03/08/stripping-vs-burlesque/ In the burlesque movement, we are seeing some fusion between burlesque and poledancing (for example, the duo called Gravity Plays Favorites). Some people like this, and some don't. I consider it to be the inevitable result of a creative and innovative movement. Everyone adds their own style and flavor to the mix, which then inspires more people to add their own styles and flavor, which then inspires more people...

The burlesque "bump-and-grind" dancing in the 50's was taken directly from bellydance moves. You can call this cultural appropriation if you wish. I call it human nature and an inevitable part of growth and creation. As creative humans, we see something we like and wish to emulate it, and then we add our own creative influence to what we are doing and soon enough a new style or even artform is born. This happens in music, in visual art, in dance, in architecture, in literature... you name it. Burlesque as it is known in America (and as it is spreading internationally) is an American cultural tradition that drew from European theatrical traditions and later developed into striptease (often comedic) with bellydance inspired moves and costuming themes.

It is pointless for traditionalists to bemoan the changes and new interpretations that people create in these art forms. Everything changes. People will always innovate. All I can recommend is that traditionalists stick with the style they enjoy, the innovators stick with what they enjoy, and everyone just worry about your own act, your own reputation, your own success, and leave everyone else to their own business. Or you can bang your head against the wall, but I promise you that won't change anything anyone else is doing, although it might give you a headache. And dismissing someone else's success by calling them "sleazy" while excusing your lack of success by blaming it on them is just a cop-out. If you want to be hired (to perform or to teach), work on your skills and presentation and stop worrying about what other people are doing. If you stand out, you will be successful. If you don't, you probably won't.

To the people who are afraid that "bellydancer = callgirl" in the eyes of the public, keep in mind that the people who would look up a bellydancer in the phone book and harrass her are the kind of people who automatically think "woman = whore." Disassociating burlesque from bellydance won't iradicate that kind of ignorance and sexism. Any employer who would fire a person for practicing or performing burlesque in their off time deserves to be slapped with a law suit.

And anyone who claims that associating burlesque with bellydance is undermining their efforts to "legitimize" bellydancers in the countries the art came from is just fooling themselves. The dance forms will be respected in those areas when women are respected in those areas, and not until then.

Public dancing and performance in general has only recently been seen as a respectable activity for women in our culture, and there are many places in the world where it is still seen as indecent. For hundreds of years in Europe and America, "actress" or "opera dancer" or "chorus girl" were synonymous with "prostitute." The bias against women showing their independence and flouting cultural strictures is not new to striptease, and cultural ideas of what is "vulgar" or "tasteless" or "indecent" change from generation to generation. Expecting the norms of yesteryear to apply today is not only unrealistic, but it would also paint even the most "traditional" and "respectable" of dance forms with unflattering associations.

Blaming burlesque for dance's "sleazy" associations isn't going to fix any of these problems, because burlesque is not the problem, just as pole dancing isn't the reason burlesque has a bad rap. The problem is that so much of the American (and hello... Middle Eastern... or even the world's?) population is afraid of stong, earthy female sexuality and artforms that express it. Fix that problem and the rest will go away. Until then, you're just putting fresh frosting on a stale cake.

When in doubt, "Shake it!"
Betty
Bombshell Betty Dance
San Francisco, CA

[ed note- read Betty's blog linked above- valuable content to our discusssion!]

4-18-08 re: Divorcing Bellydance from Burlesque by Miles
(divorcing belly dance etc)
Miles,
Just thought that I would put in my "Two Cents"
Read your article, I believe that you made your point clear, and by the response, I see , as usual that you have brought out many diverse opinions.
I think that the biggest problem (possibly) we ( males ) have in voicing ANY OPINION in regards to the subject that you wrote about or things like ABORTION etc,
is that we are NOT WOMEN........
I have been around dancers all of my life, (including strippers) and in my younger days played drums for them. In those days, (burlesque) was not a nude show but appropriately named 'TEASE' ...
It is a real hard thing for most MEN to understand that women want to be admired and RESPECTED at the same time.........so, I wish you luck in trying to figure it out. I believe that I have gotten to know you pretty well over the years and I sincerely believe that when all is " said and done " , that you truly have a PASSION for what you believe is an ART FORM, and I also believe that you are trying the best that you can to PURSUE EXCELLENCE., . one thing that I think is really clear, is that since you came ":on the scene" .the interest in this area has certainly increased. Good luck in all that you do.
BREAK A LEG
Your friend,
Del Bartlett
Dallas, Texas

4-18-08 re: Divorcing Bellydance from Burlesque by Miles
Dear Editor,
As a photographer my views on Miles' diatribe:
To be sure I am surprised and dismayed that the ever so illustrious Mr Copland has such an issue with all of this. Does he feel threatened? Maybe.
After all he is using Fans in his shows and at his tender age should be a tad more secure about his creation. The FACT that Miles (bless his cottons) feels threatened by this innocuous fusion is risible.
He is probably loving the controversy. Let us all not forget that Mr Copland is 1st and foremost interested in his wallet and not the feelings and emotions of hard working dancers. As he sits there in his suit of armour (not amour) we should all remember that dear old (very old) Miles is only protecting his purse strings.
Move on old man. Let's not be a slave to history - let's progress. As a friend of mine, Bill Shakespeare, said - "What is past is indeed prologue". Not any more my fine feathered friend.
It's easy to belittle what you have not thought of. It's much harder to open those wide shut eyes of yours and see progression.
The BDS are beyond amazing but that does not give you carte blanche so suddenly turn critic. After all - "A critic is a man who knows the destination but doesn't know how to get there".
You are not an artist - you merely profit from their sweat.
Love and kisses,
Maani Vadgama
United Kingdom

4-16-08 re: Divorcing Bellydance from Burlesque by Miles
Dear Editor:
I am a traditionalist. I don't and have never agreed to Miles's presentations of belly dance, and I don't think I ever will. Yes, the shows are done tastefully; and no, they are not about sleaze. For that, I am grateful. But, hey, Miles is a classy guy even if to acknowledge that he has to deal with being a moving target among us traditionalists.

I, too, do not know why burlesque or stripping has to be associated with belly dance. But then, I also don't know why ballet, hip hop, jazz, funk and all the other dance forms have to be associated or put into belly dance either. I read a lot about how burlesque should not be associated with belly dance and I COMPLETELY agree. But I don't read about any resistance to ballet being associated with belly dance. Ballet and burlesque are two entirely different and separate forms of dances unto its own...one is acceptable within the dance we call belly dance and one is not. I think both are unacceptable....period.

I applaud Miles for bringing to the forefront MECDA's condoning of burlesque -- one reason why I never became a member of that organization, as well as the publicity of Farhana's involvement in burlesque. But I have to take umbrage to his statement that belly dance is an art form. Belly dance is first a cultural expression; a dance born out of a culture unlike ours; namely Egypt and the Middle East. Ballet, jazz, tap, hip-hop and perhaps burlesque or striptease can be considered art forms; done artistically, they are fun to watch. And you'll never see a five year old native Middle Eastern girl dance a perfect or artistic ballet, tap, or jazz number (unless you happen to be Feiruz) let alone do an artistic strip tease dance. But, she is always fun to watch.

Belly dance seems to have become a mish-mash of dance movement ranging from pelvic grinding to turns-on-point. The Hula -- another cultural expression -- endured years of association with burlesque and the term "hootchie cootchie" until the natives stepped up to the plate and put end to that. I don't believe that there is any ballet, jazz, tap, burlesque, or striptease associated with Hula any longer in the more respected communities who embrace that form of cultural expression.

I'm a purist -- obsessive/compulsive. While I agree with Miles's thoughts on the burlesque issue, I do not agree with the issue of associating or infusing other forms of dance to belly dance that he has presented in his shows. But as an advocate for elevating belly dance and keeping it from the Red Light District, I think he is "right on".

By the way, Miles looks quite the dashing knight in shining armor -- a fitting outfit, I think, for saving belly dance from falling into the depths of hell and damnation.

Sausan
Master Teacher
Sausan Academy of Egyptian Dance

4-15-08 re: Divorcing Bellydance from Burlesque by Miles
In regards to Miles Copleands recent dismay at the inclusion of "burlesque" in the fusion style of American Belly Dance; I have to say that he himself has been producing similiar styles in his BDSS shows. Perhaps he has no real concept of what burlesque involves or it's many facets. I remember clearly, his 2007 show, featuring a dancer in a costume that resembled either a stripper/flash dancer or could be considered burlesque. She wore a top hat and her only routine seemed to be reminiscent of a burlesque parody of "Flash dance" the movie, complete with chair spotlighted on stage, her posing upon the chair with a finale of water cascading over her. Miles, if that isn't classic strip or burlesque, then you do not have a clue. As well as your finale pieces where dancers parade ala Buzby Berkeley or the Ziegfield Follies, which had premises in burlesque; with huge fans in a dazzling display of pure schmaltz. I do think you put on a incredible show with the tribal/fusion and American style belly dancers, but you are not above putting 'burlesque" into your own show. I find it hypocritical, that you assume burlesque is about nudity and strip shows. Look at your own programs and see that you yourself have incorporated the very "evil" to bring down Middle Eastern culture, within your own venue. I found it ridiculous, but not offensive when you performed it. I see as usual you have great tunnel vision.

re: When the Hip Hits the Fan by Princess Farhana
Hips getting caught in a fan (I know this is not the direct title Lynette): I would just like to make one small comment that the author included in her outstanding article regarding the history of fan dancing and it's beautiful and hard incorporations into forms of current American bellydance. She connected the fan dancing used in various forms of dance with the use in Native American dancing. I quote : "In North America, folding hand fans are used in Mexican Ballet Folklorico, and flat-feathered fans with rigid handles are sometimes used in the traditional shamanic dances of various Native American nations". This is a grievious misnomer of the use of fans in traditional regalia and ceremonial work in the Native American /First Nations people's culture. First and foremost, the fan is considered a sacred object, which has many different aspect attributed to it, depending on it's use, the tribe connected with it and is taken quite seriously. It is not used in their traditional dances as a prop or an accessory. Great time is taken and blessings and ceremonies are used to accompany a fan that a dancer or anyone who is using a fan for spiritual practices is done. The use of the word shaman is considered an insult to the Native and indigenous peoples of North America and South/Central America. It is not used by Native peoples, it is a bastardization encorporated by the anglo's who have appropriated it's name from the Siberian medicine people. It in no way has an appropriate usage here and is considered quite upsetting by traditionalist of the Native America, for anyone to use that term so loosely in context with their cultural, unique soveirgnty and sacred beliefs. There is no connection what so ever in the context of her article that should include this reference; as it brings up grievious insults to those of Native and First Nation people. I speak on their behalf as a member of the Lakota nation as well as the Mohawk nation. I do this only to educate and to preserve the language and integrity of our ancestors. I hope in all honor and reverence that you will take this in the manner it is given....especially to educate.

Sadira
Marin, California

4-14-08 re: Divorcing Bellydance from Burlesque by Miles
I am writing this letter in response to a letter written by a commenter on the article, “Divorcing Bellydancing from Burlesque" by Miles Copeland. One reader stated that she could not “support burlesque given her Christian faith.” My question is: what does religion have to do with it? Apparently the commenter failed to understand that burlesque is not just about stripping, although it plays a large part in it. Burlesque also included humor and comedy, usually in a satirical and mocking nature. Some of the greatest comedians got their start in burlesque; Milton Burle, Abbott and Costello, Jackie Gleason, Bob Hope just to name a few.
Granted, I am not trying to change people’s ideas about burlesque, because after all, burlesque has never been wholesome. I just don’t understand why the hard core belly dancers have such a prudish view of burlesque and view it as “sleazy”. In my mind, belly dancing is certainly no more wholesome than burlesque. For some of the commenters to say that bellydancers suffer because of the link to burlesque is highly hypocritical. It’s not the burlesque that gives bellydancers a bad name. It’s the stereotype that bellydancers are courtesans and women of “easy virtue”. Vilifying burlesque is not going to solve the problem. If you are tired of being associated with a negative rap, then perhaps you should not be belly dancing.

Best regards,
Divina
Dallas Texas

4-14-08 re: God Belly Danced: Biblical Accounts of Belly Dancing in the Ancient Near East, Part 1, by DeAnna Putnam Part 2, Part 3, Part 4. Part 5
Greetings,
I loved your articles about Biblical belly dancing! Every time I read Psalm 150 v 4 “Praise him with the timbrel and dance” I will mentally substitute “Praise Him with the zills and belly dance” – but then I go to a Charismatic church that encourages dancing and I get to use a lot of floor and veil work.

You left out a few of my Biblical favourites that I’d love to know more about:

• Judges 21:19-21. What is this feast of the Lord where the women go to the vineyards at dawn to dance together? Sounds lovely!
• The “Dance of the Double Camp” mentioned in Song of Songs 6:13

Will we see a part four on these?
Regards,
Megan Foster
Christchurch, New Zealand

4-13-08 re: Divorcing Bellydance from Burlesque by Miles
Just one small point, which I believe needs to made clear, and I perhaps didn't do so adequately in my earlier letter: There is a war going on. From my perspective (and it's just my opinion) an illegal, unconstitutional invasion of a sovereign country (Iraq) which did not aggress against the United States.

As we in the belly dance community debate "art," American kids are dying in Iraq, and so are Iraqis. Might we at least be correct and clear about terminology? Might we at least divorce "burlesque" (an American art form) from the broader "tent" of Middle Eastern dance? No matter how "artful" burlesque might be, it does not represent the dance forms of the Middle East. That is what people are looking at; and it wouldn't surprise me if Americans conflate "strip" with "Middle Eastern dance." One cannot perpetually finger "the ignorant American public" if such acts are presented within a Middle Eastern dance context--or festival, like MECDA's.

To be forthright, I cannot support burlesque given my Christian faith, though I do not doubt that it is art. But the point is, why make Middle Easterners "pay" by association with "stripping" if that is not one of their art forms, as well? If MECDA wishes to promote the art of striptease, they should at least change their name to dissociate themselves from the Middle Eastern arts, cultures, and the people represented, who really have no voice at all in how they are portrayed by Americans.

Sincerely,
Barbara Grant
Tucson, AZ

4-13-08 re:I loved the Old Days at the Bagdad by Habiba
Dear Lynette,
It was great to read Habiba Nawal's article. I remember her (as Nawal) from my early days at the Greek Taverna, where I waitressed. We both had hippie boyfriends, which drove the Haramis brothers a little nuts, so we got along well. I remember stopping into Tosca with Nawal on one occasion and maybe Hippo before heading home to Marin. North Beach was so exciting then, especially if you worked in one of the clubs, you were "in" and could get in anywhere without paying a cover! Anyway, both the audience and the staff at the Taverna adored Nawal. She was fairly athletic in her approach to dance even then - meaning the energy, the great muscle tone, etc., so it is no surprise that she continued on that path. Karisma (who danced for many years at the Casbah and the Greek Taverna) once mentioned that she had seen Nawal dance and that was what had inspired her to become a belly dancer. I am happy things turned out well for Nawal because she was one of the nicer girls. I remember when she left to work for the airlines, as I wrote in my article for GS, "The Greek Scene."
Regards,
Elaine

4-12-08 re: Divorcing Bellydance from Burlesque by Miles
wow this article stunned me!!
  i attended this 'sleazy' show in london having never seen belly dancers before but having seen many burlesque dancers (who are never naked as you seem in infer...you never see a nipple and the girls never take their underwear and sometimes even corsets off)!  anyway, i was slightly aprehensive about the crossover and whether it would work together but was astounded by the skill of all the performers, in particular the bellydance routines, they were absolutely beautiful!!  so much so that i went home and researched good teachers/classes in my local area and have just started a bellydance class which i have to report i am enjoying thoroughly.  so i have to agree with and defend 's choice to combine the two as i would never have discovered this amazing artform without her unusual fusion!!
Jane
Brighton, UK

4-11-08 re: Divorcing Bellydance from Burlesque by Miles
Hi Mr Copeland, I attended the Shimmy Shake show in London which you assert used sexual innuendo to lure an audience with 'nipple tassles' and the even more offensive 'fascinator' (which, by the way, is an elegant feathered cocktail hat, reminiscent of 1950s style).

Well, your ignorance extends beyond a basic grasp of millinery as the entire article on 'Divorcing belly dance from burlesque' goes on to prove. The show was put together by an Australian burlesque and belly dance performer Sapphira who organised the show and performed herself AND it was outstanding!

As a belly dancing student, I went along with a group of fellow students as our belly dancing teacher heard about the event and sent an email around. I had little experience of burlesque but my curiosity was piqued as a favourite instructor, Princess Farhana was to be performing and I wanted to see her burlesque routine and belly dancing show.

Well, I just want to say this to Mr Copeland - The show was great. This was nothing short of professional and the standard of performance was fantastic! Mr Copeland could not be further removed from the truth with his assertions that the show linked sleaze with belly dance and nudity. It was very clear which acts were belly dancing and which were performing burlesque. The burlesque entertainers were so polished on stage and caused us all to hoot with laughter with their comical antics, inspired us with their glamorous costumes and commanded the stage with feminine prowess and authority! (and the audience was a majority female!)

I am attending the next Shimmy Shake show AND the beginners burlesque workshop Sapphira is putting on with some other students from my belly dancing class. I think poor burlesque dancers have the same work cut out for them as belly dancers once did and are beginning the painful process of educating the general public that their work is art and should be accepted and treated as such on a wide scale.

Sally Long
London, UK

4-11-08 re: GS formatting
Hi Serpents,
I really like the articles you post on Gilded Serpent - they are usually interesting, well-written, and well illustrated. But it seems like someone - the editor, the webmaster? - selects random paragraphs to put in bold face print. I see magazines do this all the time but it usually to call out a particular passage as important or thought-provoking. It seems that in most of your articles it is random, or maybe just every third or fourth article. It does help break up the text and make the overall page seem easier to read, but I find it very distracting!
Just my opinion,
Stacy Braslau-Schneck
San Jose, CA

4-11-08 re: Divorcing Bellydance from Burlesque by Miles
Hi, the name is "peter von sleaze" not dj sleaze that just sounds...erm ...sleazy!
being an outsider to the bellydancing world. and only being involved with the burlesque crowd for about 4years. Maybe my name puts across a sleazy tone, but then again i've never dj'd a bellydance night before. i.e. the shimmy shake at madame jo jo's in soho, on the 14th of feb 08, which seems to be causeing a fuss, i had a great time was fantastic to see bellydancing close up. as i'd never see it live on in carry on where's my camel.....anyway,

Don't you think that mixing the two will just open up an wider audience!!
maybe thats just me give me more.
Anyway i'm avaliable for parties, weddings, club nights, cheap rates!!!!!!!!!
pipi pip 'n' tally ho olde boy!

Peter Von Sleaze!! (it's a play on dita von tease)
London, UK

4-11-08 re: Divorcing Bellydance from Burlesque by Miles
Bravo to Mr. Copeland on a well written article. This is definitely a topic that affects all of us involved in the art form. Please understand our viewpoint is not a personal attack against any one dancer in particular but is instead directed at any dancers combining these two forms.

Anyone in this country who has been an Oriental Dancer for any length of time has struggled with the stigma attached to our art form. In the public mind there is a connection between burlesque dancers, strippers, and belly dancers, which can often make it difficult for all belly dancers to be taken seriously. We know how hard we all have worked to convince the public of the legitimacy of our art form. However, all it takes is one dancer doing something vulgar to completely erase all of our efforts.

Dancers who combine both burlesque/stripping and belly dance and teach/write articles/create videos stating it is perfectly acceptable are the reasons that our cell phones ring at three o’clock in the morning because some sleazebag checked into the airport hotel, saw our ad in the yellow pages and think belly dancer = call girl. Dancers who combine both are the reason that an acquaintance of ours who was in the education field felt pressured to give up her dancing once she was promoted from teacher to principal because parents didn’t approve or understand. Dancers who combine both are the reason that a dancer we know has had to seek other employment for her day job– because once her boss found out she was a belly dancer he wanted her gone.

Like it or not, the “art” of burlesque is equated with obscenity in our culture. If you wish to work to remove that stigma from your art form – go for it. We wish you luck. However, when you combine stripping/nudity with Oriental Dance, when dancers perform sexual positions in a belly dance costume, when you encourage other dancers that this is a wonderful thing – EVERY Oriental Dancer pays the price. While you may find that it enhances your career/boosts your profit margin and gets you the attention you crave, the rest of us suffer.

Just yesterday we received a flyer from a new dancer hosting her first workshop. In it she states that she was inspired to learn belly dance after seeing a video of the Kama Sutra dancers. She has no clue why that is so abhorrent to legitimate Oriental Dancers! New dancers do not often understand the stigma or what it can cost them during their dance career. They see someone on a video or at a workshop combining burlesque and belly dance, using Sally Rand fans, or performing the Kama Sutra and think that it’s perfectly acceptable to do this because the dancer doing this is a big name dancer so it MUST be okay. Since they are calling it “belly dance” it must be legitimate.

Dancers also need to start looking at themselves as well.. We can’t even remember the number of workshop shows we've been to where the audience (made up mostly of fellow dancers) screams and applauds loudest for the most outrageous dancers, dancers who use vulgar moves or dancers who use vulgar music. How many workshop flyers have you received touting the teacher that is someone who is objectionable? Why are dancers attending and hosting these workshops? Workshop sponsors who bring in teachers of questionable taste and attendees who go are encouraging this to continue.

As long as you put two dancers in a room together you'll get at least 3 opinions about what is correct, what is appropriate, what is vulgar, etc; and fortunately here in America we don't have the "Belly Dance Police" watching our every move, editing our dance steps and costume choices. But we do owe it to ourselves, the audiences who watch us and the art form itself to not sink into vulgarity and tastelessness.

We are all free to do what we want. BUT when one dancer does something vulgar (strips as a belly dancer, dances without underwear, uses vulgar music and/or moves) it hurts EVERY dancer and their chances for future performance opportunities. As long as we as dancers continue to not speak up, continue to applaud vulgarity and continue to purchase videos, attend classes/seminars by vulgar teachers then we are going to continue the downward spiral of tastelessness.

If you want to be a burlesque dancer, a stripper or whatever that is your choice Why is it necessary to combine the two art forms and paint all of us who are tasteful, legitimate Oriental Dancers with your brush? Make your choice and then stick with it. Belly Dancer or Stripper. Oriental Dance or Burlesque. But then call it what it is and do NOT blend it.

Naajidah & Ashiya
Lincoln, Nebraska

4-10-08 re: Divorcing Bellydance from Burlesque by Miles
Against my better judgment, I once again feel the need to weigh in on the current article by Miles Copeland. I'm not sure how I feel about Mr. Copeland’s article. It certainly piqued my interest. Living in an area of the country that is stunningly beautiful, relatively pristine, I have seen an influx of people from other areas rushing in to buy up houses and land, cut down trees and remake it in the image of other suburban areas, not realizing that the very “improvements” they were making destroyed what they had come here to celebrate. They are the most strident opponents of new building and urban spread. I’ve got mine; now stay away. It is reminiscent of the national immigration issue...kind of like locking the barn door after the horse is gone...all of these things run in my mind.

I find it rather astounding that Miles Copeland, whose Las Vegas style revue of dancers gyrating in skin-tight costumes with bouncing boobs, piston hips and trance thumping renditions of classical musical pieces from another culture should question the ethics of burlesque or even comment on the inappropriateness of Middle Eastern dancers crossing over. WHERE HAVE YOU BEEN? It’s ludicrous that the man who sponsored the tour of Le Serpent Rouge should have the balls to complain about burlesque when that show was so close to a burlesque/vaudeville crossover it was hard to tell the difference! And, by the way, I thought it was a brilliant production, far more entertaining than the Superstars. Are sales for the Superstars flagging? Did you need publicity? Or do you have some hidden ax to grind with Ms. Farhana that eludes those of us who simply reside on the fringes of the scene. What is your problem? You sound like a prudish Aunt. People will think what they think. Some people find burlesque both artistic and great entertainment. Some people who see the Superstars will think they are a burlesque show, and some won't.

Art schmart...art is in the eye of the beholder, and in the art of the performer. Or are you prepared to be the arbiter and give us the rules by which we should proceed? Lets get away from the art, from the ridiculous statements that you made about changing the perceptions of raqs sharqi or whatever you want to call it. Really...I haven't read such hubris since I read a comparison of the alleged “persecution” of Tribal Style dancers with the persecution of the Rom people in the Tribal Bible. Would you get your head out of your pocket book for a second and smell the coffee? You are not going to change the status of dancers and perceptions of an entire culture by playing Sol Bloom to the world. Western “orientalism” placed belly dancing squarely where it resides today. Dance itself is still regarded as an “outré” profession by many in the west. By being the patronizing uncle who purports to understand all the complexities of this question you simply provide more grist for the abuse Miles Copeland mill…or more publicity. If that is the reason you wrote the article, you are more clever than I thought at first read through. Better to keep your mouth shut sometimes…I know, I know, follow my own advice. Besides, Miles, you sound so humorless. In the greater scheme of things, Art will sort itself out. Either embrace it all...the seedy, seamy steamy side of it AND the gracious, heartfelt genuine artistic expressive side, or GET OFF THE BUS.

Shelley Muzzy/Yasmela
Bellingham, WA

4-10-08 re: Cory's letter re: Divorcing Bellydance from Burlesque by Miles
If I was presenting bellydance with a "Las Vegas" approach I would probably be all for a bit of nudity or indeed the whole show in the nude. Vegas operates under the adage that "sex sells".

Meanwhile I am not a promoter of a stagnant or should I say "static" view of what bellydance is or was. As an art form that is primarily a solo dance it is as varied as those who do it. There are no standards that are universally or even generally recognized and certainly not in the Middle East where each teacher is as catty about other teachers as we see elsewhere in the world (and in other art forms too). Besides it is not a successful dance as the word "success" is generally applied in our world (or the Middle East for that matter) so even more reason to question the idea of a "right", "correct" "culturally accurate" form existing at all. Those teachers in the West who claim they are doing it "properly" - the "right way" are usually doing so as a means to promote their school and technique over their competitors.

The BDSS strive for excellence in presentation, physical and technical ability, creativity, beauty, and generally high entertainment value to a broad audience. We use fusion for three very simple reasons. First is to bring necessary variety to the show to hold attention for the full one and a half hour length of the performance. Second I use association with other dance art forms as a means to both surprise the audience out of preconceived ideas about bellydance that may not be entirely complementary and/or to uplift it by attaching it to recognized successful mainstream dances. Sabah's excellent fusion of Ballet and Bellydance makes that case admirably to the point I have had ballet dancers express amazement, admiration and new found respect for our dancers in general. Third, I believe the BDSS should be a forum where all our dancers can express and contribute their creativity and skill to the show by offering unique aspects of what they do and to why they got into dance in the first place. Sonia's experience and love of Polynesian dance, Petite Jamilla's spinning, Adore's gymnastics and of course our Tribal dancers are all assets that add to our show and allow our dancers to feel fulfilled as broad based multi talented dance artists. We do this maintaining bellydance at the core of what we do and the fusions we incorporate. We will always maintain bellydance as the core as that is what makes us different from all the other mainstream dance shows out there.

Miles Copeland
Sherman Oaks, CA (ed note-I think he is in Italy at present)

4-10-08 re: Divorcing Bellydance from Burlesque by Miles
Whereas I do not care for your Las Vegas approach to our art, I never thought I would say this to you sir: great article! you hit the MECDA dilemma nail on the head. Here's hoping THAT nail was the last in their coffin, and mecda representing ANYTHING Middle Eastern, is...ah..dead!
thank you,
Cory Zamora and zamora'd
Fresno, CA

4-10-08 re: Divorcing Bellydance from Burlesque by Miles
Dear Editor,
Mr. Copeland speaks like he alone has raised the art of belly dance to new respectable levels. Another Mr... Full of himself. Frankly, I don't spend too much time worrying what the people of the Middle east think about either of these art forms. The governments of the Middle East are allowing this art form to disappear from its own soil due to extreme religious constraints. Do you really think they spend a lot of time thinking about the difference between the two? I don't believe they do. My business partner just came back from the Middle East. She traveled through Oman, Jordan, Dubai, Yemen and Egypt for 3 weeks. In all the photos she took, there are no women visible anywhere. Cloistered away. So I don't really think they care, because they would not know what is going on anyway with the BDSS on any given day.

When he allowed Rachel Brice to showcase her style he took a chance on offending Middle Easterners and rocking the boat. That was not "belly dance" as we knew it then. However, it sure has caught on. Now we even have Goth belly dance. What do you have to say about this Miles????

I think he is just worried about his bottom line as always. I don't think he pays the BDSS what they may be worth anyway. I believe he fancies himself as a modern day Svengali or a knight in shining armor??? Nice photo, real credible. His attack on Princess Farhana was uncalled for. I don't believe she deserves this one bit.
People need to look at burlesque as the true American art form it is. People need to educate themselves about it before shooting their mouths off. I find it awesome that the revival of it included intelligent women such as Princess Farhana and Dirty Martini. What the hell are people so worried about? I would rather watch a professional burlesque act any day than watch someone who holds themselves out to be a belly dancer and then she rolls around on the like a moron or is less than graceful in her presentation or just does not know how to belly dance period. We know there are tons of those folks out there. Eight week wonders holding themselves out to be belly dancers. Possibly inspired by the BDSS???? Who knows.
At least Princess Farhana is the consummate professional no matter which hat she chooses to wear on any given day. Mr.. Copeland you owe her a public apology.

Susu Abdo
Ontario, Canada

4-9-08 re: Divorcing Bellydance from Burlesque by Miles
The article entitled Divorcing Bellydance from Burlesque by Miles Copeland was recently brought to my attention. Being a trained classical dancer and star of the burlesque stage, I couldn't help but comment. I am used to hearing the opinions of closed minded people, but this article seems to be a blatant attack on Princess Farhana and other Middle Eastern dancers who also choose to perform in shows that feature variety acts including burlesque performers such as myself. The sheer fact that the burlesque revival is so popular with women - my audiences on any given night are over 70 per cent female - and that most articles in the press about new burlesque are written with a heavy post feminist point of view ought to not only help the world of bellydance to be accepted by a wider audience but to elevate our forms of art together. Why fight the connection to burlesque that was made by Little Egypt in the turn of the century when there is clearly a high and low expression of both art forms. Burlesque is made by women for women and enlightened men, and it is as much about the intricate costuming, comedy, parody and flat out glamour as it is about the nudity that is so taboo in our country. This feigned morality is detrimental to women and I take personal offense.
Miss Dirty Martini
New York City, NY

4-9-08 re: Divorcing Bellydance from Burlesque by Miles
Dear Lynette:
I thought that Miles Copeland wrote a great article. I also find it fascinating that during this time, the "Cover Photo" on GS showed a scantily-clad "Nawal Habiba," who looks as though she is dancing in her underwear, not exactly the type of photo that I would choose to represent Middle Eastern dance. Here's my question: If belly dance is all about scantily-clad, beautiful girls, why should it matter whether a dancer takes off her bra during a performance? Why criticize Princess Farhana if she should take off hers during a belly dance/Burlesque routine? The audience is seeing almost everything, anyway.

I believe it's an unfortunate trend among some belly dance performers and associations (MECDA) to promote artists whose claim to fame is sexualizing Middle Eastern dance in an American context, though that is surely their American right. But that does nothing--nothing!--to promote the art form as legitimate, and wreaks havoc with public perceptions of Middle Easterners and their cultures, as Miles correctly noted. At this time, more than any other, it behooves westerners generally and Americans particularly, to have a legitimate understanding of Middle Eastern cultures. The sexualized representation of Middle Eastern dance does not do that; further, it does not represent me as a dancer/teacher in any way, and does not comport with the manner in which I introduce this art form to the public.

Sincerely,
Barbara Grant
Tucson, AZ

4-9-08 re: Divorcing Bellydance from Burlesque by Miles
I am a huge fan of BDSS and I applaud Mr. Copeland efforts to educate the general public about bellydance. However, I disagree with Mr. Copeland in that I do consider burlesque a valid art form. Performers like Dita von Teese certainly face their own challenges in defining their art and presenting it to the public in a manner that is seen as art and not as ‘just stripping’. I also wonder where BDSS draws the line between bellydance and burlesque. Adore’s solo on the “Solos from Monte Carlo” dvd certainly crossed a line in my mind. I felt her costuming (fish net stockings, a bra, and a belt) was far too revealing for a bellydance performance. I agree that the public still needs education as to what bellydance is, I do this everyday with my family, co-workers, etc. But I think artists should have the freedom to express themselves. If a bellydancer wants to also perform burlesque, that is her right. I just hope that she would make it clear to her audience that there IS a difference.

Emily Andrews
Salinas, CA

4-8-08 re: Divorcing Bellydance from Burlesque by Miles
Bravo to Mr Copeland for a very well-written letter! While I have not necessarily been a fan of the acrobatics and Brazilian and other fusions in the BDSS show, and am vehemently NOT a fan of tribal at all, the BDSS show that I attended was well done, and certainly contained nothing which sullied Oriental dancing as such. I too, am horrified that "Princess" Farhana would associate herself with a show that had Burlesque and someone named DJ Sleaze. What is she thinking? You cannot be an island unto yourself. Every time someone steps out in the name of "belly dancing" (a name I detest, by the way) what they do, how they're costumed, the whole 9 yards, makes an impression on its audience, who then make judgements based on what they see. If something in bad taste, or bad form, or just plain bad dancing is done under that title, we all get smeared.

I was even hoping that perhaps the BDSS could get featured in a "Macy's Stars of Dance" piece on a results show for "Dancing With The Stars". They have a better chance than any of us out there, simply because of the name recognition and the publicity machine behind them. When acts of questionable taste continue to happen (esp.by those who should know better), we need all the positive publicity we can get!

Pauline Costianes
Canton, MI

4-8-08 re: When the Hip Hits the Fan by Princess Farhana
Oh please, enough!....re read your mission statement! this womans shows and flyers are a big part of our leaving what was once MECDA, which needs a NEW mission statement.Perhaps Ravensmoon's letter said it best.

Cory Zamoras
Fresno,CA.

3-26-08 re: From Cabaret to DJ, NYC '88-'07 by Nina Costanza
A bit late, but I would like to thank Amar for her wonderful article on the NYC dance scene - and the demise of the cabarets there. I was fortunate to work at the original Ibis in 1979, before I left for Europe. I learned a great deal from the musicians there, particularly Youssef Kasab. Samiha, the owner, chose her band carefully and brought in very talented people. It is tragic that new dancers do not have the same live experience that shaped our dance training in the past. Part of the job description "in the old days" was "be able to improv to the band." That is a hard skill to learn without live music. But that was the essence of what we did. Now the only way a dancer can hone her improv skills is to play a CD she has never heard before.

Yet the community is fortunate someone with your writing skills and experience has brought this era to life - and laid it so eloquently to rest. It was a bittersweet eulogy. R.I.P.

PS. Minor fact correction - the Chicago World's Fair was 1893, not 1863. A typo, I'm sure.
Yasmin
Washingon, DC

3-26-08 re: From Cabaret to DJ, NYC '88-'07 by Nina Costanza
Nina,
I read your article to the end, eyes blurry and all. It was fantastic, so well written and very impressive. You obviously has a great deal to express and if I could have written such an article it would have stated all the same. You captured many of my own thoughts and I felt my usual "sisterhood" with you. Thank you for writing such great wisdom for all to read and even hopefully for some to grow from.
Until we meet again...........Blessings,

Zarouhi
New Jersey

3-26-08 re: From Cabaret to DJ, NYC '88-'07 by Nina Costanza
Thank you for an excellent article which so eloquently describes what has happened to the Middle Eastern dance form in the last decades. I am looking forward to sharing it with my students--I hope it will help them understand where they fit into the world of Middle Eastern dance today.

Thanks!
Best wishes,
Andrea
New York City

3-26-08 re: From Cabaret to DJ, NYC '88-'07 by Nina Costanza
Hi Nina,
What a wonderful article! I am giving this to all my students. It is very nostalgic for me. Boston was very much like NYC. Of course we thought we had better music in the late 80's and early 90's. We actually had music to die for.

Here in Southern California I have always felt that the new dancers lacked an integral part of their education by not having access to places where they could go and even listen to music and possibly perform to live music. I have tried for years to make our own venues at great expense.

Guess we are kind of lucky. We have one place that offers live music. It is Greek and has an arabic (Iraqi) keyboard player, Greek bazouki player, a Lebanese oud player and sometimes my husband a Lebanese drummer. All exceptionally good. My girls get to work there once a month. We produce a different theme every month for a floor show and have two Orientale dancers. True their shows are 10 minutes each. We use CDs for our show as it is Folkloric in nature.

I try to keep what Bobby taught us in the forefront. We were so lucky. Even have had to offr an Improv class so they can learn to dance this way. No where to just boogie and absorb the music. A shame. Thank you for sharing this piece with me. I am posting it. It hit so many cords. Has made me think things out again. You know, sometimes, one feels all alone in this battle. You have brought it to me that all of us from days gone by suffer the same situation and how can we hang in there and handle things as they are today.

Morwenna
San Diego, CA

3-26-08 re: From Cabaret to DJ, NYC '88-'07 by Nina Costanza
Superb article, Nina - a marvelous historical overview of the dance, with an astute analysis of the current "scene". The best I've read. It's an article that should reach an even larger audience.

Pat
New York City

3-22-08 re: Love Stories, Choreographies of Raqia by Astryd
This is not an objection to anything in that article - I really like it. I simply wish to clarify one specific thing, which I'll get to later on. I have been saying for eons that Oriental dance is the music made visible *within the movement vocabulary that goes with this dance form* - you ARE the music: the ears hear it & the eyes see you BE it. It was one of the first & most important things ecplained to me by the wonderful old ME musicians when I first started in 1960. The quality of the instruments, the phrasing, the meaning of the song (BUT you are not a mime, illustrating the actual words). This is the simple truth. This is what the dance should be.

I also agree that Raqia Hassan is a fabulous choreographer & even when teaching a seminar, she always repeats the phrases with intense emotion. It's a pity she was never a professional Oriental dancer - what a fabulous dancer and star she would've been! I told her as much myself.

What does need clarification is in the phrase: "Within this choreography Madame Raqia trained me to feel and sense how each opposite camel...". " Opposite camel", is what Raqia calls the movement she adopted & I, much earlier, dubbed the "California Roll" (think sushi: in regular sushi, the seaweed is on the outside, in the California Roll, it's on the inside & the rice is on the outside - opposite to the REAL thing, an American invention, but a tasty roll nonetheless).

Whatever we call it in order to distinguish it from the CORRECT undulation/ "camel", "opposite camel", "California Roll", whichever ... IT IS NOT A REAL ORIENTAL MOVE - IT IS YET ONE MORE AMERICAN "INVENTION" (like "ribage circles", "upper body camels", *anything* with the ribcage except a slight lift for accent!!!). Raqia, herself, knows this & very specifically & clearly stated as much when she taught a great & very well-attended seminar in my studio in April 2007. "This is an American move. I take it from you!"

I just want to make that fact very clear, so you know where it comes from. Kind of like using a foreign word in your own language - like "shtik" or "shlep" or "rendezvous" ...

Morocco
NYC, NY

3-20-08 Re: Serpentessa DVD Review by Surreyya
I wish to express my gratitude for being reviewed recently by two well known belly dancers with extensive experience with snakes under their hip belts! The first review is by Zaina Hart of iShimmy. Coverage by knowledgeable people contributes to my goals as a 21st century Snake Priestess: disseminating the wisdom of the Serpent and teaching how to dance with them as equal partners.

However, I am dismayed and must correct the following statements by Surreyya as they impact my professional reputation.

“There is not enough newbie care and handling instruction.”

The Dvd prologue clearly outlines its goals as an educational source beyond current newbie care and handling instruction: covering bonding, handling, entrainment and dancing with snakes. This material has never existed before in a viewable format. Increasingly, there are more snake dancers without this necessary knowledge and who don’t have teachers. TempleBellyDance.com lists health, care and feeding sites.

“Overall safety advice was lacking from this video”

This is absolutely untrue! Throughout, I have specifically covered safety as pertains to all the content presented as instruction or performance. But don’t take just my word. Both Zaina Hart and Eva Yaa Asantewaa, a reviewer for Dance Magazine review my comprehensive coverage of safety. (Oddly enough, at her review’s end, Surreyya lists several safety considerations already within my dvd.) In addition, Zaina and Eva Yaa attest to the fact that, throughout the various rituals and performances, never once do I forget they are equal collaborators as implied by Surreyya here:

“There is a lot of contradiction with regard to statements made by Serpentessa, (a self-declared “Snake Priestess”) about snakes not being used as ritualistic props, however, ritualistic dances are being performed, and snakes are in the dances.”

The following is one of the most disturbing statements I have ever read.

“All in all, there are not enough of the real possibilities presented nor how to deal with them.”

Dvds feature captured footage: in this case, living animals. Were I to present “real possibilities”, I would be abusing my serpents in the most inhumane manner possible. The mishaps presented happened by accident only and I demonstrated how to deal with them appropriately.

I appreciate that Surreyya acknowledges my expertise, engagement, involvement, love, care and respect for my animals. She says she “came away with some added insight”, but doesn’t elaborate. Too bad. I imagine GS readers would appreciate knowing. In the interest of furthering knowledge, I respectfully suggest she write an article that speaks to that and to this statement: “snake dancing is such a rewarding and special experience”.

Finally, my dvd was created to address my target audiences of belly dancers, snake enthusiasts, women’s empowerment and earth devotees. The extensive content reflects their diverse interests. I am in business as a Snake Priestess and professional belly dancer who performs and presents workshops nationwide. I am that “goddess <who> gets <and deposits> cash out of the ATM”!

Serpentessa
Rifton, NY
[ed note- more info on snakes available here]

3-19-08 re: Where Have All the Cover-ups Gone? Ashiya & Naajidah
Thanks for such a great article on wearing caftans/cover-ups. I have been in the teacher, performer of Middle Eastern Dance for over 28 years and my first teacher taught me, right from the very beginning, that dancers should always be covered before performing.

I have been sponsoring 2 workshops a year for the past 15 years and my biggest pet peeve is the lack of respect of many dancers. I have seen dancers parade around and even going over their dance routines in their costumes. They have worn everything from husband's shirts, terry cloth bathrobes, raincoats, etc. I have had to add that all performers MUST wear a cover-up when not performing, on my flyers, and still, some dancers insist on not covering up. I think it is just takes away from the mystery of our dance, as well as showing disrespect.

Melina
Lancaster County, PA

3-19-08 re: From Cabaret to DJ, NYC '88-'07 by Nina Costanza ? or Michelle's article about teaching in a gym? or Certifying the Certifiers by Najia?
Hi, This was meant as a Letter to the Editor, but please feel free to use it in any way that you'd like. It's my rant against the loose usage of "bellydance" and how it reflects on us all in the long run.
I have no problem with fitness places incorporating "bellydance moves" in their workouts, but I do have a problem if they're showcasing the class/session/workout as a "bellydance class" and the instructor has no actual background in this artform other than a few fitness BD classes. When I first read "well, it's one of our elite fitness instructors teaching the class" I almost laughed. I can't tell you how many aerobic professionals, weight lifters, and hardcore fitness ladies that have taken my class and had a hard time with it. We all start from "zero" and learn from there. Doesn't matter how fit or not fit you are. And elite? See me after a few classes. We'll discuss it then

There is a forum that has now stepped on my toes within the local area and I was curious as to what everyone's else experience has been in this aspect and the best tactic to apply in dealing with this situation.

There is a certain local workout gym in the area, that is established nationwide. One always thinks in the typical sense of a gym; weight area, aerobics room, treadmills, bikes, etc. One typically does not think "Bellydance Class". While I have approached local gyms to run BD classes, I have always been given the brush off. After so many attempts, I just gave up and continued on my merry way in the venues that I do teach at.

Now I'm receiving phone calls from different areas excitedly asking if "I'm the person teaching class" at the local ****'s? Hmmm....I decided to investigate this new tidbit of information.

My query, via phone, resulted in another brush-off when I started asking too many questions. I was promptly directed to the fitness coordinator, who in her busy day, has a blackberry and can be reached via email at any time. (well, I'm impressed) I do have to say, I did receive a response right away.

Without getting into too much detail, amongst the few emails that flew back and forth, here is what I have discovered: Yes, they are going to be having "Bellydance Classes". No, I did not ever get a direct answer as to "who" the instructor is other than "she's an elite fitness instructor". (we're just chock full of impressiveness here) The end result; "well, they'll be wearing hip scarves". (oh no, I did not just hear that) Needless to say that after my last email to the fitness coordinator outlining my concerns with a non-bellydancer teaching "bellydance" and my invitation for their "elite instructor" to visit and take my class or just to observe, I have not heard a peep.

So, I do have a few students that are fitness members at this facility that are just dying to take a class and give me a report. I can't wait to hear about it. Excuse me while I brush up my resume.....

an Elite Bellydance Instructor *grin*
Zahira Zuhra
(Nancy E Frye)
Nashua, New Hampshire

3-19-08 re: From Cabaret to DJ, NYC '88-'07 by Nina Costanza
What a wonderfully well-written article! This is what I miss about some of the magazines no longer in production - thank goodness for the Gilded Serpent!! Being from southern Michigan, I never knew the dance scene as Nina experienced it. It was so engaging to read her description of it. Here in Detroit it was mainly Greek clubs with flash and style over substance, for the most part. Arabic clubs are few here, the Greek clubs are gone, and I haven't checked the dancing there because I'm hideously allergic to smoke. But Nina's description of the ethnic family atmosphere, along with Morocco's article regarding her first days in the clubs, sounded like a wonderful time to be a dancer. I too, am not thrilled in the least with the Middle Eastern electronic techno music. A little goes a long way. I understand that the Arabic teens and young people need a modern expression of their popular music, but I still like the Egyptian" big band" orchestral sound. Guess that makes me an old fart, eh?

Pauline Costianes
Ann Arbor, MI

3-18-08 re: From Cabaret to DJ, NYC '88-'07 by Nina Costanza
I enjoyed "From Cabaret to DJ". The author's experience mirrored mine in Los Angeles, where there was a booming Arabic nightclub scene in the late 1970's through the mid 80's. There were approximately 8 nightclubs with live Arabic orchestras, and probably 10 more with Greek or Armenian orchestras playing Arabic music for dancers. Places such as Ali Babas, Kokos International, Omaar Khayam, and Sahara. This was such a golden age, as the musicians would keep abreast of the new music coming from Egypt, and would add to their repertoire often, keeping us dancers on our toes, learning beautiful classical pieces such as Hammouda 1, 2, and 3, Maschaal, which was originally called "Al Arrouse", Sahara City, Mahrajan, etc. To hear the opening strains of those songs as one waited in the wings to enter the stage was exhilarating. I plan on doing some interviews with the few dancers and musicians I can find from that era. Here in Los Angeles, it's now about the Vegas style shows with CDs and beautiful young jazz dancers who've been taught some oriental choreography. The shows are beautifully produced, and very entertaining, but somehow, it feels something has been lost.

Kamala Al Manzar
Los Angeles, CA

3-18-08 re: From Cabaret to DJ, NYC '88-'07 by Nina Costanza
That was a great article on the demise of the cabaret. I could have written it myself.

Yasmina
Washington, DC

3-18-08 re: Enduring Open Criticism by Najia Marlyz
Dear Najia,
Your advice to Shylah was indeed excellent and well thought out. Indeed, many students use dance class and many similar self-improvement classes as a means of working on their inner selves in a very personal way. This is not a bad thing in and of itself.

Where things go wrong is when they treat their teacher as their own personal therapist and hold their teachers to unreasonable standards. Dance teachers and other artists of all forms are in touch with their inner voice as much as they have managed to successfully channel energy in a creative way and are making money at it. They are not therapists by any means and should not be liable to coddle, shore up or support the inner sanctums of their students.

Since Shylah has already admitted that regardless of the slight she felt, she has learned much from her teacher, hence, her teacher has provided what she is fundamentally responsible for - a good educational forum and good curriculum. As for myself, I am an unconventional teacher. I tell my students that I will not coddle them, rather, that if they take my class they should be prepared to work hard on the inside and out.

Indeed, developing a thicker skin is paramount to any form of visual art, and all forms of expressed creativity. Indeed, it is fundamentally important to learn to laugh at yourself. Why? Because the ability to laugh at yourself when you have not lived up to expectations, yours or others, is difficult and is an invaluable coping mechanism.

From teaching students to look up, teaching them to hold another's gaze when dancing, not crumbling at fumbles in choreography, student's must endeavor to find a good learning environment where they can channel their energy into something beautiful; something that feeds their soul. Note, this is the student's responsibility to themselves... this is a work of self-investment.

Teachers are conduits or guides, showing you a means to regain communication with that inner expressive you. We are not perfect and should not be put on pedestals to worship or be held to a higher unearthly standard. No one can stand up to such unreasonable expectations. Give your teacher a break. She is not Superwoman.

Regards,
Shadia
Ottawa, Canada

3-17-08 re: Enduring Open Criticism by Najia Marlyz
I think Najia was way off-base with her advice to Shyla, whose teacher had compared the way she moved to "a certain animal" (an