Dance Is A Radical Act

furious_dancing2One of my colleagues at Mills College wore a tank top emblazoned in bold letters: “Dance is a Radical Act.” I admit that at first, I did not understand what she or the shirt meant. Dance is art. Why should it be radical?

As I continued my study of dance history and theory, I realized… of course dance is radical. Dance expresses independence of body, thought, and expression. Dance has been a vehicle for protest and dissent (Alvin Ailey American Dance Theater: “Exodus”). Dance critiques warmongerers (Kurt Jooss: The Green Table). Dance exposes the heartbreak of marginalized communities (Kyle Abraham: Pavement). Dance challenges preconceived notions of itself (Yvonne Rainer: Trio A). Dance can satirize itself and critique the fetishization of marginalized peoples (Keith Hennessy: Bear/Skin). Dance can bring together disparate cultures and celebrate beauty and love (Mark Morris: Layla and Majnun). Dance allows the disenfranchised a physical and corporeal voice.

And within each of our bodies is incontrovertible truth. Even if we are denied truth through biased news outlets, corrupt politicians, and even from members of our own families, we still have our bodies. When deprived of political and social power, we still have our bodies. Oppressive governments, regimes, and political climates have tried to suppress dance for centuries. Look to the exile of the ghawazi by Pasha Muhammad Ali, the outlawing of hula under missionary rule in Hawai’i, the banning of the Plains Indians’ Sun Dance by both the United States and Canada, and many more. Dance is, indeed, a radical act.

For me, my worldview and dance are intrinsically linked. When I dance, I am expressing my physical and personal power. We make art that reflects what we value. I value truth, justice, kindness, compassion, cross-cultural understanding, inquiry, self-reflection, corporeal independence, and the pursuit of embodied knowledge. I believe that there are facts, and that the existence of facts is not and should not be controversial. Indeed, when I wrote the Salimpour Compendium, I sought to dispel many of the myths that surround belly dance, hoping to nip them in the bud, and provide a sound foundation for those new to the dance form who also wish to dig beyond the “wishtory.”

In these troubling times that might pit you against your fellow countrymen, neighbors, or family members, I hope that you reflect on what you truly value. Does your dancing embody those values? Do your everyday actions? What about who you vote for? Does your art align with your politics? If it doesn’t, how can these defining aspects of yourself be reconciled?

Dances need not always be political. But for those of us who are afforded the freedom to move, to take studio classes, to perform for each other or on stages, we must remember that dance is a fundamental act that has phenomenal power to both express and shape humanity.

I hope that you dance not only for yourself, but for all humankind.

 

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I Wrote You A Thing!

Yes, that’s write…. har har har.

Several years ago, the Salimpour School invited me to help edit a collection of Jamila Salimpour’s articles that she had written for Habibi magazine in the late 1970s and 1980s. As we read through the articles we thought that we needed to contextualize them. Jamila, while passionate about education and oriental dance in general, was not a trained scholar. She rarely cited her sources, and often conflated terminology. She had also been writing at a time when the theory of Orientalism had not yet entered the popular parlance, let alone with regard to its applications to belly dance practice in North America. While her articles have great value, not only for their content but also for the sense that they convey about her life and the state of belly dance at the time she was writing, we didn’t want students reading them and thinking they were gospel truth. They are and were Jamila’s truth, and of a certain time and place in belly dance history.

Suhaila and her team came to me and said, basically, that they wanted a companion volume to Jamila’s Article Book. I thought the project would be fun and illuminating, and with my background in history, political science, international relations, and of course, Middle Eastern studies, I took on the job. I thought we’d end up with a little guidebook to various topics related to those in the article book… but every time I overturned a topical rock, five more pertinent subjects would rear their snakey heads.

A few years later, and after reading myriad books, journal articles, web articles, and other sources, the Salimpour School has published what is now called the Salimpour School of Belly Dance Compendium Vol 1.

Inside you’ll find a narrative of Jamila Salimpour’s life, adding details and depth to the autobiographical articles she penned for Habibi over 30 years ago. This section also contextualizes the origins of Suhaila’s groundbreaking belly dance format.

You’ll also find my pet project: a survey of subjects, theory, history, and other subjects to supplement your studio practice. These topics include a brief history of the Islamic Middle East, including an overview of Islam and its main religious sects; the professional dancers in the Middle East, from the köçek to the stars of the 1960s; an introduction to Edward Said’s theory of Orientalism; a look at some of the male performers in our genre; the emergence of the national folkloric companies in Egypt; and how Hollywood used and abused Oriental themes on the big screen…. and that’s just a taste. It’s nearly 200 pages long, lavishly illustrated, and includes a comprehensive bibliography.

This is the book on belly dance I always wish existed. I hope that it is illuminating and enlightening, and that it helps situate yourself and your practice within this dance’s rich and complicated history. I also hope that it will inspire you to read some of the many sources cited, and begin or continue your own investigation of belly dance in both practice and theory.

Available at the Salimpour School Online Store.