Author’s note: The purpose of this post is to encourage self-reflection and caution against reactionary responses to accusations of “cultural appropriation” in belly dance. It seems that when this issue is brought up in popular online forums, white-passing dancers react in questionable ways that fail to acknowledge the issues at stake. I do believe that belly dance as a practice is at a tipping point in North America, one where we should make some very important decisions on how we continue to engage or disengage from this dance and the culture from which is comes. There are so many more facets to this phenomenon than I can address in a single blog post. I encourage responses to be civil, recognizing that there are people with feelings on the other side of the screen.
One of the greatest questions I think facing the practice of belly dance in the diaspora right now is…
Is it possible to practice belly dance with a clear conscience?
The answer: Maybe…
Your Fave (And Mine) is Problematic
I’ve heard of multiple instances where students of belly dance have either left the dance entirely or felt discouraged from continuing after they had learned about this dance form’s problematic issues: Racism. Colonialism. Cultural imperialism. Orientalism. “Arab-face.” Gender Essentialism. De-ethnicization. Exoticism. Cultural appropriation (may I recommend this philosophical essay and this article?). And that’s heavy stuff if you are a hobbyist who was only looking for something to do after work, have fun, get some exercise, and maybe meet a few new friends. It might feel even heavier if you perform this dance form, and heavier still if you teach it. If you continually ask yourself and others the right questions, you can bear the weight and continue to belly dance.
The first time you encounter an article or blog post or discussion that suggests that belly dance—and by extension, you, particularly if you are white-passing—might be engaging in an oppressive dance practice that takes power and visibility away from already marginalized/colonized/oppressed peoples, it’s easy to be shocked. It’s easy to be angry when someone accuses you of thinly-veiled (see what I did there?) racism. It’s easy to get defensive. It’s easy to respond with “But… I’m not a racist!” and to make it all about you. It’s easy to say that you love this dance because it’s beautiful, it makes you feel empowered, you love the way the movements make you feel, it’s brought you “community” (or “sisterhood,” but I encourage you to re-examine the use of that word), that “it’s all dance” (yes it is, but don’t then turn around and explain how you love belly dance over ballet because you think ballet is all about body-shaming or isn’t meant for the “curves of a real woman’s body”), or that “it’s all fusion” (yes it is, but that doesn’t absolve some decisions from being questionable).
…and note how “I love Arab culture and music” isn’t in that list. (Spoiler alert: It should be.)
Many an academic article, blog post, and social media discussion has tried tackling theses issues. The authors of these materials range from the life-long scholars and practitioners with deep knowledge, understanding, and experience to those who are only looking to ruffle feathers, make themselves look like like they have the moral high ground, and use activism as performance. These expositions of belly dance often highlight the most egregious and offensive examples of the above issues, but rarely do they ever offer practitioners advice for how to engage in belly dance while avoiding perpetuating problematic issues.
Big Questions, Small Ego
In the 21st century, as the academic post-colonial discourse of Orientalism, critical theory, and race theory enters the common vernacular, practitioners of belly dance in North America need to ask themselves some big questions. (I speak to North America only because that is my personal perspective, and I don’t feel like I can address the issues that dancers in Western or Eastern Europe might face, although there is certainly some cross-over). These questions require humility and a big, scary ego check, and go far beyond doing this dance “correctly” or “incorrectly”:
- When I feel under fire for my artistic decisions, how can I step back and reflect before reacting?
- If I wish to continue, how can I adjust my practice to be as non-oppressive as possible?
- How can I find a mentor who maintains and promotes a culturally-responsible practice?
- If I am an instructor, should I continue to teach, or should I further educate myself before teaching again?
- How will I listen to and make space for practitioners from the culture of origin?
- When I see someone else making questionable artistic decisions within the context of belly dance, how can I call them in, as opposed to calling them out?
- How can I continue to educate myself about these issues without burning out?
Asking yourself questions requires being deferential and humble. It requires that you set aside your ego and (possible) aspirations for constant performance and self-adornment for the sake of respecting and honoring the culture from which this dance comes, and more importantly, the people from that culture (these people who are not a monolith, who each have their own differing opinions about what’s offensive and what’s not). These are treacherous psychological and sociological waters, and there are no right answers.
No Clear Answers, aka Hybridity Is Messy
Being a dancer of any genre requires constant self-reflection, asking questions, research, and of course, conversing with dancers who have come before you. In our case, that means professionals who are from, have worked in, and lived in the Middle East,* as well as the many scholars whose life work has been the study of Middle Eastern dance. There are many instructors and professors who have a lifetime of experience in this dance form who will gladly mentor you, answer your questions, and give you guidance. We are practicing and performing a dance with an incredibly complex and tangled history and relationship with the embodiment of power, race, sexuality, gender, and self. You owe it to yourself to learn from those who have paved the way before you, even if their own artistic choices were problematic. It is a learning process, not a learning end-point.
This dance form is inherently hybrid, transcultural, and transnational. To essentialize it as only “Middle Eastern” or “Arab” or “Egyptian” denies it its cross-continental influences and history as a living, changing dance form. But we also must recognize that hybridity doesn’t allow us the privilege of turning a blind eye to aspects of our practice that, once identified, make us uncomfortable or that, frankly, are a little bit racist (and of course there are the people who will always think that a white-passing body performing belly dance—regardless of aesthetic, artistic, or emotional quality or cultural knowledge—is always racist). We must also accept that its 100+ years long hybrid history in North America does not absolve us from cultural responsibility, because so much of that history—from the 1893 Chicago World’s Fair, to the Little Egypt phenomenon, to the Hootchy Cootchy; to the self-Orientalizing American Middle Eastern nightclubs of the 1970s; to adoption of belly dance by second-wave feminists as an expression of independence, sexuality, and empowerment—has been an embodied fantasy of an exoticized (and often eroticized) Middle East. That is the legacy we have inherited. How will we continue forward?
Multiple Paths in the Name of Non-Oppressive Practice
A mindful and non-oppressive practice isn’t easy. I struggle with it every day. Admitting you might have been wrong, offensive, inappropriately appropriative, or oppressive isn’t easy. To hear someone tell you that you should perhaps cease practicing and performing a dance form that has brought you so much joy isn’t easy. Reflecting on your artistic and creative decisions isn’t easy. Anyone who tells you that this dance form is easy is trying to separate you from your money.
Cultivating a culturally-respectful practice is much like hiking a winding, muddy, sometimes treacherous path. Sometimes we will follow along another’s trail, using their knowledge and asking them questions along the way. Sometimes we are on our own, hacking through the proverbial foliage in our quests for personal authenticity and truth.
We will disagree with each other on how to navigate these potentially confusing directions. But we all have our own moral compass (except if you’re a sociopath, in which case, nothin’ but a therapist is gonna help you), but we must choose to use that compass to help us find our way. When we read articles or post on social media about how belly dance is problematic, we can not ignore our compass, turn away, and say that we are not part of the problem.
How have I oriented (haha) myself in all of this discourse? I accept that that I am in a constant state of inquiry, and that my approach to a culturally-responsible practice will be in constant flux. I also believe that if you wish to study belly dance, and call it “belly dance,” (and especially “fusion belly dance”) then you must absolutely study Arabic music (as well as the Turko-Armenian American nightclub classics). This doesn’t mean that you can’t ever dance to non-Middle Eastern music or experiment; I’d be a flaming hypocrite to even suggest an absolute like that. But if you are a “belly dancer,” especially one who sees themselves as a “professional,” knowing Arabic rhythms and instruments should be a given. Understanding maqamat, knowing the great singers and composers, a familiarity with pop stars, is not optional. Physicalizing different stylizations, from sai’di to khaliji to Turkish Orientale, while understanding their origins, is part of being a well-rounded performer. Embodying Arabic music in its historical and political contexts is at the heart of understanding and embodying this dance form. In addition, if you are worried about being “appropriative” and wish to continue studying and performing belly dance, then you must accept that your practice will include continuous inquiry and engagement with the culture from which this dance comes. To divorce the culture from the dance (and all of its messiness), and take from it only what appeals to you for the sake of your own performance and self-promotion is the very definition of an imperial practice.
And no matter how hard you try to avoid it, you will always offend someone.** If that happens—and if you are white-passing it probably will—it will be up to you to examine your practice and ask yourself the hard questions: how can I reflect on and adjust my practice? At least acknowledge their point of view before writing off that someone as too “politically-correct” or “too sensitive.” Acknowledgement doesn’t always mean full agreement, and that’s all right.
You can always ask yourself more questions and question your assumptions. You can always look deeper into your artistic choices. You can always know more about the music, the poetry, the language, the aesthetic values, the history, the politics, and the people who have shaped belly dance and our perceptions of it. By admitting that you can always learn more is to ignore your ego, admit your faults, and foster a more culturally-responsible practice.
*Even the term “Middle East” presents Euro-centric view of the world. For this, a blog post, I will use it because it is the most common and easily recognized term for the region to which I refer: the Arabic-speaking world, North Africa, the Anatolian peninsula, and surrounding regions where solo, improvised, pelvic-articulated dancers are performed. Sometimes this region is referred to as the Eastern Mediterranean or West Asia/North Africa; however, these terms are far less common in popular discourse.
**It happened to me. And while I still disagree with the arguments and tactics taken by the accuser, I acknowledge their point of view. This person accused me of racist practice without ever engaging me in a conversation, asking me any questions, or even observing the work that I do. They used inflammatory language and protest methods to make my work look insensitive, ill-informed, and oppressive. You will encounter people like this, who will lump you and your work into the pile of Orientalist and exoticized belly dance that has become the dance’s main image in popular media.