Tribalation! bids farewell to Arwyn

Long-time guild member and tribal performer Arwyn bade a fond farewell to troupe Tribalation this month. She's moving north, having taken a job in Portland for the school year, and then plans to move to Seattle in June. Arwyn has been a guild member for many years, and served on the MEDGE board as webmistresses from 2003-2005. She's been a member of troupe Tribalation! since 2003, and continued performing with the group even while she lived in Salem for a year.

The MEDGE Fall Festival was the scene of her last "official" performance together with Tribalation (though I am sure we'll probably visit her and dance together again, for old times sake). Meanwhile, "The Red Tent" belly dance troupe in Seattle has already laid "dibs" on Arwyn's talents, and she's not even yet in the city. Arwyn, we wish you much success in your future, in teaching, in dance, in family, and in friendships. We'll miss you!
~With love, from Sabine, Najma, Portia, and Ziola, ladies of Tribalation!

Dancer for Hire, by Marah

“Wow, $150? But my daughter is only 12, and there will be only 7 other girls, they just want an hour lesson, can’t you come down in price a little?”

“Oh! That’s a lot more than I thought it would be for just 20 minutes of dancing.”

“This is a special occasion but I just can't afford $250 for a few hours of ambiance. Can't you give me a discount if I include dinner?"

“It would be good exposure for you to dance with our band, or you could come dance in front of the stage while the band gets set up—you could work for tips.”

Every professional belly dance performer has a whole list like these, from people who want us to come into their homes or businesses, and entertain for parties and events.

Dance is an art form, and the road to becoming a professional takes much effort and many years. We belly dancers are trained, disciplined, prepared, and expected to look and behave a certain way. We spend countless hours on our education, training, practice, and preparation; we purchase expensive costumes (or spend hours making our own); spend untold amounts on music, jewelry, hair, nails, skin products. We prepare a complete routine for each individual event, often tailoring it or taking requests to make it unique and special for the patron of our art.

We run risks before, during, and after our performance, which often make interesting stories in retrospect, but which at the time can be frustrating, embarrassing, humbling, belittling. We fight against ancient stereotypes, and hope to enlighten our audiences. Working as a professional belly dance performer is hard work, and we must love it or we wouldn’t do it.

Most dance guilds set standards for instruction and performance rates, which serve as guidance to all members to avoid the issue of undercutting. Razia weighed in with some comments for dancers just entering the performance realm: “If you don't charge the standard in town because you feel you're 'just a student' or you're 'not a professional', you shouldn't be taking the gig. You're undercutting, no matter what your intent, and that's bad not just for us dancers, but the dance itself.”

The only way to discover the standard in town is to ask—ask your fellow dance performers, ask your teachers. It is a vulgar subject, and each event carries its own price, so some dancers won’t talk about what they charge. Hopefully this article will prompt some open discussion.

Once, years ago, I received a call from a lady wishing to hire a dancer for a birthday party. She asked me my fee, and I stated $120. To my horror, she said she had previously contacted another dancer who wanted $150 for the performance, and was happy to hear I could do it for less. Knowing I would be undercutting, I immediately backed out, and told her I couldn’t dance that evening. Even though I was in the “ballpark,” it would have been unethical for me to take the gig, especially since she had informed me another dancer asked for more. If she hadn’t told me about the other dancer’s higher fees, I would have had no way to know I was undercutting. This is a risk we all face.

All the performers with whom I’ve spoken are conscientious about not undercutting each other. The Middle Eastern Dance Guild of Eugene does not maintain fee standards, because we have many performers and instructors who live throughout the state. Although prices vary for each region, they remain comparable.

Samara from Bijou Project in Bend explained her fee system, “I charge $100 for two 10 minute sets, or $150 for 30 minutes, broken in half or thirds, not to exceed a two hour period of on-site time. As for the Bijou Project, we vary. Some places will supplement our fee with food. But $50/dancer with at least two dancers for two 10 minute sets is our going rate. As a general rule we dance for free at events that support community, special causes, or raise awareness for important issues.”

In Eugene, Razia’s fees represent the going soloist standard, “I charge $125.00-$150.00 for a 15-20 minute party set or bellygram. Minimum $200.00 for a 15-20 minute wedding set. Minimum $150.00 for lesson/mini performance (for kids/girl's parties) of 45-60 minutes, and the fee goes up depending on number of students. Out of town? Add $100.00 or more for travel fees. Want me for ambience? I charge at least $150.00 for the first half hour, and it goes from there, as these gigs are typically really boring. One's prices should always be negotiable for the good things, like charities, a friend or family member's party, and so forth. Think of it like giving a really expensive gift!”

For Luminessah, with its four members, the fees run $200-250 fora half hour, longer sets are more. Says Lila, “We are flexible depending on type of event (ie food, lodging included, tips, etc), and other factors change ittoo, like mileage, and of course we give deals to good friends! And we arealways willing to work with people.”

People love to hire belly dancers for special events and occasions, because live entertainment lifts any party to a whole new level. There are pitfalls, too, and it’s important to do research on any event to find out exactly what the party organizer expects of the dancer. I once was asked, and declined, to pop out of a cake. Says Razia, “I never, ever take a gig in which I'm supposed to 'embarrass' the guest of honor (I'm sorry, but I don't consider what I do to be embarrassing!), and I learned the hard way never to take 'surprise' wedding gigs. It's a waste of everyone's time if the guests aren't thrilled to have a belly dancer there.”

Those who do hire dancers with best intentions may not recognize that they are getting a living breathing work of art, but that is what they want. They wish to be entertained, they want to be moved, to see something beautiful, to be amazed, mesmerized, and dazzled. They want to sit quietly and watch the dancer move through beautiful shapes, they want to hear the tempo change so they can clap and stomp their feet. They want to feel their whole range of emotions, and this dance is an art form because it can express all those emotions.

What is the price of art? Unfortunately, dance seems the most price negotiable of art forms. The same patrons who fork out $1200 for a reproduction of a bronze dancer statuette balk at the thought of paying $120 for the ephemeral delight inherent in a living, breathing performance in the special comfort of their own home. Not one of those who would hire a dancer for their party would ever walk into an art gallery and try to talk down the cost of an original painting, because that’s gauche. But they will expect to bargain with a self-employed dancer. They readily pay $120 a month for cable tv, but a live performer? They expect it to cost $50 or less.

Most patrons hiring a dancer wish to bargain. How does one handle this situation, which is so foreign to us in our daily lives here in the US? For starters, be prepared for it, and find out all the details of your gig before you give a price quote. “It takes the same amount of time and effort to prepare for a 10 minute performance as a 30 minute one, so never lower your price for less time,” says Razia. “If someone wants you to dance for less time, that's fine, but the price shouldn't go down.”

State your price both with certainty and stick with that price, or quote slightly higher than you intend to receive, drop it only $5 or $10 at a time, and know ahead of time exactly how low you intend to “discount” your art. Be flexible, but as Razia says, “Just don't sell yourself, your training, your costumes, and your fellow artists short.”

Sometimes the Best Option is Retreat, by Samara

The first week of school came to a screeching halt leaving me dazed and stunned by the year that lay ahead, and the mountainous pile of ungraded papers I had managed to accrue in just four short days. As I shuffled to my car the wheels of my granny cart squeaked behind me.

Shoving my sleeping bag to the side I hoisted the basket of papers and notebooks into my station wagon and stared blankly at my travel bag. With papers to grade, lesson plans to revise, and a head cold setting in, I faced the fact that I had foolishly registered for a bellydance retreat that weekend-- at the time I thought it would be a well deserved treat. Now my only thought was that I was way too busy for this.

I left Albany at about 4pm on Friday and headed straight to Camp Myrtle Wood—stopping only for gas and some food along the way. The drive took about four hours. By the time I made it through the maze of back country roads that led to the camp, it was dark. The registration kiosk was closed; everyone was at the camp fire. Not knowing where anything or anyone was, I meandered around in the dark until I came to the dining hall and saw some friendly faces.

Halima and a friend sat hunched together, enjoying their first meal in what appeared to be a bliss thick and body taxing kind of day. Shortly into our conversation campfire dwellers began to glimmer past the windows of the hall. I excused myself, and decided to figure out where I was in relation to where I was supposed to be.

As I left the hall I heard a familiar snort followed by a warm, rolling southern accent, and instantly knew I had found my cabin mates. After settling into the cabin with the ladies from Central Oregon, we headed back to the dining hall for the evening show. As we joined the gathering crowd I remember briefly convincing myself that I was way too tired for this. Fortunately, that was the last time that particular thought attempted to interrupt my weekend.

Each night the shows were a potpourri of styles and experience levels. We were greeted by dancers from all over the Northwest and beyond. Friday’s show allowed me a brief glimpse of what I’d missed as Roya took the stage and amazed me with her energy, grace, and spirit. On Saturday the show boasted over 30 performances—each one unique, yet bound together by the common threads of the dance.

Among the more notable performances were those of Rachel George and Unmata. Rachel took the stage with her usual strength and confidence, and then proceeded to take the audience with her captivating and charismatic presence. I was at least equally impressed by the ladies of Unmata. While I’ve been smitten with the troupe since the first time I saw them, they entered with veils, and I foolishly thought “what would Unmata be doing with veils”? I often think of veil work as soft and fluid. They forced me to succumb to their way of thinking. In Unmata’s hands it was sharp, crisp, precise… a variable cat of nine tails.

The retreat spanned four days this year. It was with deepest regrets that I was only able to be present for the weekend portions. As a new twist this year Mez requested that each workshop instructor offer two classes, one for beginners, and one for intermediate dancers. This approach ensured that there was something for everyone.

The first workshop I took was a Turkish Rom taught by Saqra. She was able to teach 9/8 rather effectively and in spite of technical difficulties that left us without music. This was only a small sample of Saqra’s vast repertoire, and my ears perked up when she mentioned she was available for private and semi private lessons as well. When it was time to switch, I ventured to the opposite side of the field for another Turkish treat, this time focusing on chiftetilli with Sahara. Using modern influences and classical twists Sahara illustrated 5 different variations, and then taught combinations that illustrated each variation in numerous ways. It was a treat to watch two such talented teachers engage their students in musical exploration through physical expression. Too often we forget to feel the music in our dance.

On Sunday Ayesha did an excellent job of breaking down zil/move combinations and then proceeded to drill them into my head at an alarming rate. Each combo was simple and yet effective, and could easily translate into cabaret or tribal style. This is a workshop I would definitely take again; only, hopefully I would retain more the second time around! After this I found myself slowly fading under the power of my rapidly advancing head cold. I watched, and half participated in Halima’s workshop which layered isolations on top of basic movements.

As I sat in the shade, visiting with friends who strolled by on the path crossing mine, I could feel gradual goodbye of the weekend’s fade. With only a few hours left before dinner I decided to head north again before my achy head and joints filed a formal complaint. My bags packed and water bottles filled, I said goodbye to my long time friends and new acquaintances.

I had spent two days and two nights doing exactly what I needed to do at that moment in time. I smiled until face hurt, laughed until I no longer needed sleep, and danced until I forgot all those things I was trying so hard to remember. The papers in my granny cart would be graded in time, but until the end of the drive home this time was mine. I turned the music up, reclined my seat a notch, and began to sing along to songs whose lyrics I didn’t know, but whose meanings were deeply felt.

Bellydance Adventures in London, by Razia

I recently returned from a two-week vacation in London, and besides having a fabulous time with my boyfriend, Mark, I got to experience some of London's finest belly dance in person. Long before I left Eugene, I had started to scope out the ''who's who's'' of the belly dance scene via the internet, and although there were many dancers teaching in London, only a few names were repeatedly recommended. The main one was Josephine Wise and her dance school, the Josephine Wise Academy of Arabic Dance (JWAAD).

I attended two of Jo's weekly classes, and was lucky enough to get in on the beginning of a cute Tango/Baladi fusion choreography. I really enjoyed the JWAAD experience, and Jo had the perfect combination of experience, technique, and a really naughty sense of humor! She made me feel welcome in her classes, and I must have impressed her because she asked me to join her dance company after my first class!

I was also able to attend the Queens of the Nile show put on by Hossam and Serena Ramzy. As this was a big theater production, with tickets costing $50.00 US per person, I can honestly say I was a little disappointed. Half of the show was set to CD, which, if you're there to see an orchestra made up of some of the finest Arabic musicians in the world, will obviously be a bit of a let-down. The quality of dancing (as well as the energy of the dancers) really improved with the addition of live music, and I was pleased to see that Serena Ramzy is quite a lovely dancer. In the end, I was grateful for the opportunity to have gone, but I guess I was expecting something different.

Saving the best for last, I booked a private lesson with Shafeek Ibrahim, another one of those 'names' in London that I had heard over and over again. Shafeek is Egyptian, and according to his bio, was a former member of the Reda Troupe and is trained in a multitude of Folkloric and Oriental styles. How could I argue with that? My lesson with Shafeek was nothing short of awe-inspiring, and I gained some of the most useful critique from him that I have ever recieved. I left feeling excited and motivated, with a new mentor and a great contact.

As some of you know, I plan to make my next visit to England even longer! I will be leaving in March for a six-month stay, where I plan to spend every minute I can being in love with Mark (we miss each other so much, and all this travelling is starting to get expensive!), studying belly dance, experiencing a new culture, and working my butt off to further my dance career!

I just hope I don't come home with an accent...

Why Eugene Hafla, by Mariamma Jones

She moved with the grace and speed of no woman I’d ever seen or known. Her skin shimmered and glistened with wet and heat. Supple and fresh didn’t describe it. Her moves were liquid, emotive, transcendent and unique. How could she move like that? How could anyone quiver like that? And how do I learn how to do it?
We’ve all seen that woman. That woman who moves like silk in the air. Whose hips flicker with whisper softness. Whose hips move and whisper lullabies to future children. I was seven when I first saw that woman. She was belly dancing and I’ve been trying to be that woman ever since.

That proud woman who parts a crowd like a ship’s prow. That woman who is sensual and beautiful and independent. That woman who is strengthened by the support of her friends and sisters. That woman who understands the value of sisterhood, of beauty and adorns herself with grace and poise. That woman who attracts a special man because she wants him, not because she needs him. That woman who moves like no one else, loves like no one else and lives strong and free. I was seven when I first saw that woman and now I see her everywhere.

This is why we started Eugene Hafla. To support each other. To learn from each other. To respectfully watch the women who adorn themselves with giggles and pride. To respectfully watch them move and see if we can move like that too.

It requires no ability, just courtesy. It requires no money, just sharing food or drink and leaving the space clean. It requires no dancing, just being part of the scene.

Eugene Hafla meets the first and third Sundays of the month at McNail-Riley House, 601 W. 13th, corner of 13th and Jefferson from 1pm to 4pm. Please park on the street or your car may be towed. Children allowed, dancing children encouraged.

Travels with Annette & Lola, by Lola Powell

Last August, Annette and I went to the coast for a special event – Ireta’s Beachcomber’s Belly Dance. It was an all-day festival of workshops, festival dancing and souk, with an evening show. There were many vendors present, Saqra, Halima, Gaylene and Ireta among them, with all kinds of beautiful things for sale. There was costuming, jewelry, music, videos…..everything a shopper could wish for!

Workshops were given by Saqra (shimmies and techniques of choreography) and Wedad of Portland (isolations and belly rolls), with a special costuming class given by Gaylene. The festival dancing featured performers of all levels, including some very first performances which are always fun to share with the baby dancers. Annette wowed the audience with her performance of Alf Layla Wa Layla. Then there was the evening show, led off by a beautiful performance by Ireta herself, and featuring a whole evening of dancers including myself (lucky me).

The setting at the coast for the festival was ideal. The event was held at the Lincoln City community center, the former Delake School, right on Highway 101 in town and convenient to dining and lodging. The venue was really lovely, with ample room for the vendors, separate classrooms for the workshops, and a beautiful stage for the performances. And then, the next day after the festival, we still had the beautiful Lincoln City coast! Needless to say, we took our time coming home that day.

Then, in November, we went on another dance getaway, this time to Oasis Dance Camp on Vashon Island in Puget Sound. Accompanying us on this trip was Marianna, a friend and former dance colleague, who used to be a Eugene resident but who now lives in Ashland. We arrived Wednesday evening, just in time for dinner and to get settled for the next four days of intensive dance. The teachers were Cassandra of Minneapolis, Kay Hardy Campbell, drummer Nicole LeCorgne, and the Northwest’s own Hasani of Gig Harbor, Washington.

Each day started with sunrise stretches by Cassandra, followed by breakfast. Then down to the main lodge for a day full of dance. Hasani led off with warm-ups and turning. This was followed by an hour of khaleegy (Saudi) technique and choreography with Kay and another hour of technique with Cassandra. After lunch, we split into two groups for more intensive choreographies with Kay and Cassandra, one and a half hour classes with each instructor. Other classes were offered, including several drumming sessions with Nicole. Each evening featured a different event to fill out our day – one evening was a special Hafla night with performances by the instructors and the campers ourselves.

After the first day of a minimum of five hours of dance, I thought I would not survive! However, by the last day of camp I had gained in strength, endurance – and optimism. The last day was spent in performing the choreographies we had learned, and we left for home full of the fun of sharing the dance with others who love it too.

Love Stories, by Astryd Farah deMichele

Cairo, Egypt is beautiful in a very dynamic sort of way. Equally, her people are beautifully dynamic. One such character is the incomparable Oriental dance choreographer, Madame Raqia Hassan. Full of life and energy, she is always “on.” For many years now I’ve had the pleasure of studying with Mme Raqia, appearing in two of her videos, Volume 7 and the most recently released, Volume 9.

While working with Mme Raqia on Volume 7 (2004), several epiphanies took place for which I can thank her and her profound sense of musicality. A new feeling emerged about how the music truly is the dance, and without the feeling behind Egyptian music, the dance is without a soul, and very importantly, vice versa. We dance the music so that it can be visually seen.

The song she choreographed and which I perform in Volume 7 is an eloquent love song from the 1950’s by Mohammed Abdel Wahab, titled “Koulli Dah Kan Leih,” meaning “all of this, why it happened?” Abdel Wahab sings asking why all the things happened after he saw her eyes…his heart was leaning toward her…and he was busy thinking about her.

Madame Raqia trained me to feel and sense how each opposite camel and vibration sings the music for the love song. The musical arrangement we worked to was a modern rendition without lyrics - yet we danced the lyrics anyhow - which is typical and normal in Egyptian Oriental dance (you will find many old songs played from singers such as Oum Kalsoum, Abdel Halim and Abdel Wahab used in nightclubs without singing, but with dancer and/or audience fervidly dancing/singing along). Working on the choreography for this particular song was a profound experience, through sweat and tears the music really became a part of me…and so did the choreography, the feeling, the sensation of the love story.

In Volume 9 she again had me work to a love song (I seem to be a magnet for dancing the love stories…or perhaps it’s just that so much of the most popular Arabic music is love songs!). She happened to choose one of the latest by my favorite modern Arabic singer, Fadl Shaker (Lebanese singer using the Egyptian dialect). The song is titled “Illi Enta Shayfouh,” roughly meaning “what you see [make].” A bittersweet song, he sings about a love story ending, with lyrics telling his lover to just break it off… “cut [break] my heart now, not later…no problem…I will cry two tears for you, for two days only…” Very impassioned, Fadl has one of the sweetest voices of pop singers out there – he is true, with talent and finesse.

Within the choreography Mme Raqia showcases many of her signature techniques, including opposite camels, arabesques, interesting footwork, gestures, shimmies, and of course snazzy hip and pelvic locks. She has her very own style, feeling and energy…emitting an earthy, strong sense (gathered by pushing energy up from the floor through the body), while keeping it soft and sensuous…emoting and enjoying the art of displaying the music. Performing her lovely choreographies is a “velvety” experience…the movements flow one-into-the-other, and each phrase gives the sense of the song.

Working with Mme Raqia has changed my dance significantly; helped me not only to gain more and better technique, but to allow myself to feel more, to express more, to delve into that mysterious place where art happens, and understand the musicality. Through her choreography she paints clearly a picture of the essence of a piece of Arabic music – whether old or new. Dynamic as Cairo herself, Madame Raqia is one-of-a-kind!

Pilawaar, by Kathy Gunson

Recently, Saturday mornings found five curious women learning the art of Pilawaar embroidery, a needlework weaving technique from the country of Oman. The adventure and forging of new friendship began with Mary Wheeler, and her desire to learn a new language.

In longing to learn Arabic, Mary started classes at the University of Oregon, where she met Mahfoudha al Balushi, a Fullbright student from Musqat, Oman, one of the most multicultural capitals in the world. Mahfoudha, pursuing her Master's degree in teaching English as a second language, is from a tribe of people distinguished by the name Balushi. The Balushi people inhabit coastal mountain ranges in Iran, Pakistan, and Afghanistan.

In the sultanate, each cultural group retains its own customs, food, and costumes, most obvious in the different dresses worn by the women. The most distinct part of the clothing is the embroidered Balushi dress, the Pandooli. The Pendooli is similar to the Salwar Kameez except for its prominent frot pocket (called pendool, which gives the dress its name) and gathered sides. The dress can be worn for every occasion, from housework to weddings.

Simple embroidery, a single thread color, to varying complex designs with 3 to 5 different thread colors may adorn the hems, cuffs, and yokes of the pendooli. Carved wooden stamps ink the trademark cross-thatched design on the garment. The woman sits quietly with her needle and thread, weaving beautifully intricate designs.

In today's markets, tailors can fill orders quicky through the use of machines, but Balushi embroidery must be done by hand. The elaborate nature and beauty of the work is unmatched. Sadly, Balushi hand embroidery may be dying out in Oman. The availability of lower priced dresses means most women buy from the markets. And employment and education are making the craft more of a hobby than a livelihood. Young women are rarely seen doing Balushi embroidery.

An embassador of her country, Mahfoudha was eager to teach the art of Pilawaar, a legacy learned at the knees of the elder women of her community. Tackling the intricacies of weaving small patterns with thin floss elicited giggles and aging-eyesight comments as we bent over our work. The quiet comradery settled around our shoulders as we mused on the gift of sitting at the knees of a generation of women, learning a beautiful needlework skill.

What an incredible time we shared, and thank you, Mahfoudha.

Coming Home, by Samara

I had spent nearly a year in Alabama. Things started out fresh and new, but as the end drew near I began to feel as though I was sifting through a slightly stagnating haze. Being the only professional tribal style bellydancer within a two hour radius gave me public recognition that I might not have received otherwise, but it also took its toll on my energy and inspiration. While soloing had taught me a great deal, I found myself constantly longing for the familiar sisterhood I’d left behind.

As I watched my temporary residence grow increasingly distant in the rearview mirror I began to direct my attention to the road ahead. I allowed miles to pass by as I contemplated the prospect of the approaching future. I had been away from the bellydance community in Oregon for almost a year. The duet I had co-founded was now a troupe. While I knew the other members, I had little experience dancing with them. The Bijou Project’s culture had inevitably changed and I wondered how I would fit into the new climate.

Traveling through the four corners, my husband and I stopped briefly in Mesa Verde to stretch our legs and slow down the scenery. Walking amongst the Anasazi ruins I marveled at the longevity of their constructions. The past inhabitants of this area had used their knowledge of the environment to shape their way of life. They created villages that were sheltered from the harsh impacts the sub-arid climate, and then mysteriously vacated the area. The structures they left behind have remained intact for centuries. As I knelt down and ran my hand over the grinding bins where women once satconstricted my throat. These ruins, just as our dance, had remained intact for centuries. Structures built on such a timeless foundation could not be destroyed in the blink of a year. If a community of familiar friends greeted me, I knew I would again find my place in the village.

My first weekend back in Oregon lead me to Bend for the Unmata workshop and show hosted by Sahara’s dream. This was my first reunion with the community women I’d left during my travels south. Stepping out into the Central Oregon sunshine I was bathed in the fragrance of juniper and an endless sea of warm embraces from familiar welcoming arms. The weekend swept by quickly. Unmata’s workshop was a deliciously complex and challenging blur. The evening show forced me to question whether my sisters had bloomed as much as I perceived, or if I’d simply come to appreciate their talents all the more—I decided it was likely a combination of both. I logically assumed that this event would be the climax of my return to Oregon, and rode through those days lifted by the high that interacting with my sisters provided.

At the Unmata show Kamini and I had reunited in a choreographed duet that we’d learned separately through the grace of modern technology. All things considered it went smoothly. We had another show the next weekend hosted by the Middle Eastern Dance Guild of Eugene (MEDGE). For this event we were learning a different choreography and also planned to perform a piece of improvisation.

As the day of the show arrived I felt fairly confident about the choreography; though we had yet to practice it together, our instructional video was clear and we’d allotted time to work out any kinks before the show. I was decidedly less at ease with the prospect of improvisation. Kamini and I hadn’t really danced together in almost a year and I was unsure what issues our potentially altered vocabularies would produce.

Kamini arrived to meet me in Eugene early that day. After a few hours of practice we both felt the ease of understanding our own limitations. We decided to put practicing on the shelf, and spent the remaining time enjoying one another’s company. Basking in the warmth of the springsunshine we drank in the afternoon and all that it held. After our ritualistic primping we arrived at the Jaqua Concert Hall. It was revitalizing to see the lovely ladies of MEDGE and share such a delicious venue with them. Kamini and I prepped backstage before our set. While neither of us appeared nervous I couldn’t help but notice our pre-show hug felt more intense than I‘d become accustomed to.

Standing in the wings our music began to fill the auditorium. I breathed in the space and held it caged for a moment. Thoughts clear, I allowed the exhale to carry me onto the stage and into the warmth of the ellipsoidals above. I don’t remember who led, what moves we used, or even the duration of the song; my focus was swept away with the swirling of skirts. With each move the feeling rising within my frame became more familiar. These were not empty movements isolated in their own solitude, each one flowed into the next creating a shared gift between us.

As we moved through space and time the realization hit me that the foundations of our friendship and dance had remained unchanged. We were a sisterhood again, freely conversing in our other tongue. Circling to face each other the audience disappeared as we welcomed one another back to the communal place we’d come to know so well. With unconscious efforts my sister had led me home.

It has been said that it is the journey and not the destination that holds the true rewards. I have come to realize that both hold their own unique experiences and lessons. The two cannot be separated, or neither has meaning. In the grander context, every destination leads to a new journey, and every journey a new destination, it is this cyclical motion that propels us forward and yet keeps us together.

Traditional or Experimental?

Letter from the Executive Secretary
Dear MEDGE members and dance community:There have been rumors circulating that The Middle Eastern Dance Guildof Eugene has recently changed it's by-laws regarding tribal dance.Contrary to what you may have heard, there have been no policy changes,and the MEDGE board did NOT vote to exclude tribal belly dance from theMEDGE shows.

The by-laws and performance guidelines set down by MEDGE are the same as they have been for many years. Since 1991 only minor changes have been made, and always by member vote. The goal of the MEDGE guild has always been as follows: "The goal of the Middle Eastern Dance Guild of Eugene is to provide avenue and foster performance, education, understanding, and enjoyment ofMiddle Eastern Dance and Music."

This is an artistic goal, which also carries some responsibility, especially in these times of political unrest, when many people have fear or anger toward any thing Middle Eastern. If we as MEDGE can open some people's eyes to the beauty of Middle Eastern music or dance, then it may help subtly change their perceptions from, "everything in theMiddle East is bad and evil and all about war," to "some things in the Middle East are indeed worth preserving--there is art and life andculture there."

The first performance guideline originally set by the guild in 1991 was this: "The Guild encourages dancers to use Middle Eastern as the standard for music, dance, and costume at all Guild performances." This does not define that other styles of costume, music and dance are forbidden, but that Middle Eastern music, dance and costuming are the "standard" for MEDGE performances. This guild was set up for this purpose, by dance enthusiasts who thought it was important to help educate the public about Middle Eastern dance and music.

Recently the MEDGE board did have some discussion about the original goals of MEDGE, as they were laid out by the founding members over 16 years ago. Many people who have never seen Middle Eastern dance have a pre-conceived notion of what it is. Many people confuse "bellydance" with stripping or lewd dancing. One very important goal of MEDGE is to help dispell these notions. We want to show the public that Middle Eastern dance is family entertainment, that it is a legitimate dance and cultural art form, and should be respected like other ethnic dance forms such as flamenco, Polynesian dance, and ballet.

Middle Eastern dance takes on many faces. Raks Sharki, Rays Assaya, Shikkat, Hagalla, Saiidi, Rays al Sayf, Malya Leff, Baladi, Moroccan, Tunisian, Ouled Nail, Turkish dance, Lebanese style, and folk dances like the Debke, and more make up the many faces of Middle Eastern dance. In our performances, MEDGE even folds some "fusion" dance forms such as American Tribal Style, Arab-flamenco fusion, and Indian-bellydance fusion into our performances, always making sure we inform our audiences of what we arepresenting, and how it is connected to Middle Eastern dance. We strive to present dances that have strong and recognizable elements of Middle Eastern dance, costuming, and music.

A trend we are experiencing right now in the US is toward using Western music or other genres of music, hip-hop and club-dance movements, dance theater and vaudeville performance, and club-wear costuming or gothic costuming, performed while incorporating some movements from bellydance, Polynesian dance, African dance, classical Indian dance, and other ethnic dances. It's a beautiful new art form that many people are embracing. New dance clubs have sprung up to accommodate this new art form, calling it "belly dance fusion" and other names.

Several nationally-known performers and groups have created new art dance forms that are influenced by belly dance. They are being recognized for their artistic creativity and talents. Often, there is nothing in the current dance that is recognizable to the general public as being representative of Middle Eastern dance or music or costuming, but this exciting new art form is popping up at bellydance festivals and dance shows.

MEDGE wants to recognize this new trend and encourage people to be creative. We also recognize that we have a duty to educate the public, and even our very own dancers, about Middle Eastern dance and music. That is our purpose. We are a cultural art guild.

If we advertise ashow as "The Middle Eastern Dance Guild of Eugene" we'd better be presenting something to do with Middle Eastern dance and music! We have actually received complaints in the past several months from numerous audience members who were confused about performances that had almost no elements of Middle Eastern dance or music. We recognize that we have been remiss in reinforcing our own guidelines and purpose. MEDGE has aspecific vision and purpose.

Other outlets are available for performing African dance, swing dance, tango, square dance, club dance, burlesque dance, hip-hop dance, ritual dance, and other dances. Our main purpose is to present Middle Eastern dance, music, and culture. However, in our discussions the MEDGE board also recognized that many people are interested in performing fused bellydance to modern Western music, and other kinds of alternative dances. Since the guild does not currently have an outlet for this new creative art at our regular shows, we are going to try to make one!

MEDGE will be trying out a new scheme. We'd like to sponsor a show for "Experimental Bellydance." This will be a special show where people are encouraged to push the boundries, try non-traditional music and costuming, and show their fusion dancing. MEDCA (The Middle Eastern Dance and Culture Association of California) has been holding an Experimental Dance show for years, and it has become a highly anticipated event.

We are proposing that this new "Experimental Belly Dance" show be held on a specific "third Friday" instead of our regular Middle Eastern Dance show, and that it would be advertised as "Alternative/Experimental BellyDance." That way, audience members would not confuse it with our regular Middle Eastern Dance shows, and people who prefer not to hear alternative music could simply choose not to attend. We would encourge people to have some element of "belly dance" in their performance (e.g., this is not the venue to practice your square dance or tap routine!) but it will be more open to interpretation, as would costuming and music. As always, however, this will remain a family-friendly show, as all MEDGE shows are supposed to be. Burlesque dancing and overly sexual dancing and costuming are explicitly forbidden at MEDGE shows. Music that contains sexually explicit or otherwise offensive lyrics are not allowed. At this time MEDGE only sponsors all-ages shows.

At this time we have not presented this idea to our venue, Cozmic Pizza. We anticipate that they will be accepting of our idea, and we are prepared to negotiate the idea with the owners, if there is enough interest from the MEDGE membership to support this show. Also, this is being proposed as a "trial run." It does not indicate a change in by-laws.We are interested in the opinions of all our members, as to whether they think it is a good idea for MEDGE to try to sponsor one or more times a year where "experimental belly dance" is encouraged. Attached is a short survey asking for your opinions on this issue. Please fill it out and return it to MEDGE by August 5th. We look forward to hearing your response, and thank you for being amember of The Middle Eastern Dance Guild of Eugene.


Survey question:
I think it is a good/bad idea to separate the show because...

Twenty (27) MEDGE members responded to the questionnaire sent out in the special Harrakat edition. Thank you for your valuable input. Your comments proved to be most helpful regards the discussion of experimental vs. traditional at the monthly venue. The following are verbatim with exception of spelling corrections.

It is a good idea to separate the regular MEDGE show from theExperimental because----- Attendance figures should show the direction young dancers wish to go- the more MEDGE knows, the wiser its decisions will be.

It's a bad idea to separate-- All dance needs to evolve and grow. Change is good. The more diversity and versatility the better the dancer, show, and more funding from bigger audiences. By doing this there wouldn't be any harm to traditional belly dancing. You have a spokesperson to introduce the dances. I don't see what the problem is. If you want funding then be open to dance as a whole. Integrityof traditional belly dancing would not be lost. Since you know your history so well with belly dancing, also know your history with every style of dancing. They all have gone through the same changes. Each style of dance has traditional and fusion. Change happens. We are also American belly dancers, no matter how hard you try to keep the tradition sacred and pure. You can never attain the real thing. Even if you keep "experimental belly dance" out of MEDGE this time, your audience will become smaller and the controversy will rise once again. Change will happen no matter what and fusion will be a part of belly dancing and they will coexist together. We all have to in life.

bad idea---- Instructor approval of dance style is helpful in keeping dance "appropriate". In MEDGE Guidelines I miss "Folkloric", Mary Wheeler. Helene Erickson. Experimental has its fans too-- Keep the control.

good idea---- Rather then ban the entire thing I think it's a good idea. However, I don't mind seeing one or two of these acts mixed in with more traditional acts at regular shows. They provide a contrast, and help some audience members "cross-over" from familiar western culture to mid-east dances. This has stimulated much technical conversation with my newbie friends. *Quality* of any dance style is what I like to see most of all. It's all art.

good idea to separate--- Not only is it my personal preference to see traditional types of Middle Eastern dance but some of the stuff I've seen lately just plain sucks. I've seen "belly dance" performances that had little to nothing to do with belly dance. Performances that were just all around bad: costuming, music, the dancing itself. Seems like they're letting just about anyone up onstage to do just about anything. I love fusion, but please do it well!!!! Don't just throw a taxim and a "wrestling" move together and call it art. *end rant*. I barely go to MEDGE shows anymore and I would really like to.

good idea---Rock, disco, and experimental should not be at the guild show but elsewhere. I enjoy it in a different venue. Some of the new dancing is far removed from mid east dance. "Experimental" needs an outlet of its own or we need to change bylaws and mission statement of MEDGE.

good idea----We should separate Middle East Dances from non Middle East dances, if they have nothing to do with Middle East. MEDGE should be representing the middle east in some way, not just "anything goes" dancing.

good idea---I think separating regular MEDGE shows from Experimentalshows is a good idea because it helps the audience understand and appreciate the difference between the styles of dance.

good idea--Separating is good because it could confuse the uninitiated as to what belly dance/Middle Eastern dance is. Possibly lose its history and/or basics in the mix.

bad idea---Realistically you're practicing a form of segregation here--"it's our way or no way". I understand the innocent concept of returning to and maintaining Middle Eastern Dance, but if you look at its history, dance was polluted in the Middle East a long time ago by an audience (men) who wanted sensual women dancers. And, that's OK. The dance evolved and is evolving. There is not pure MiddleEastern Dance anymore except within tribes. And, that's ok. If MEDGE dancers have evolved into a many fingered hand, that's great as long as the dance is in good taste and the dance has its base in Middle Eastern dance. I'm more concerned with your trying to pigeonhole dancers into conforming into too strict of dance ideals. If the art world used the standards that the MEDGE board is trying toadhere to, there would be no Picasso, Van Gogh, or Georgia O'Keefe. At this point you've reduced your audience, you've got a lot of people confused and up in angry arms, and you're to the point where you have to pull this all together or it will be lost. That would be sad.What really blows me away is...this is Eugene---the land of non-conformists. That's the beauty of Eugene. From my perspective you're in danger of being labeled as biased and even fundamentalist.I know that's not the intention. Please include everyone!!!

bad idea---Experimental belly dance should be held any time a dancer wants to do it. It is great to view belly dance as a living growing culture. The mix is GREAT.

bad idea--- I only think it's necessary to separate them with a 15 minute intermission. First half of the show could be traditional, last half would be experimental. If not same night, then every other month. I think there are more alternative dancers than traditional Anyway. As noble an idea to create peace and understanding with Middle Eastern culture, what about our American culture?

good idea--- We only need one Experimental dance show a year. There are clubs in town that support experimental dance to dj and techno music. People coming to see Middle Eastern dance may be taken aback by styles and music that no longer really qualify as Middle Eastern. I agree that we have a responsibility to present quality, along with specific content. An "anything goes" attitude compromises our legitimacy as a cultural organization. Presenting dance is about so much more than just "expressing yourself".

good idea--Separate both because it helps to keep people from getting confused. I think it is all awesome and the variety is reallyinteresting.

bad idea--- I don't think there should be any separation of dancers. I don't see why a simple explanation in each dancer's intro can clarify the "terminology" of her/his dance style. By keeping performances diverse we will be able to reach out to more of an audience. PS: I feel like the cluster of examples of "experimental"dance is a little biased. Some of those styles (i.e., gothic, punkrock) have never even been seen at a MEDGE show.

good idea--- My personal favor tend to draw the line at Tribal style which I tremendously enjoy--maybe even my favorite. While I strongly encourage experimental styles it doesn't mean I like it as a steady diet, in fact it has definitely affected my attendance at the shows. I don't feel that it strongly supports the manifest goal of the guild but deserves its own venue. I am mixed as to how much involvement the guild should have in this venture, since we barely have the resources to keep our own shows going.

good idea--- This is the only way I can think of to pacify all the complainers. Might have a negative effect on attendance though.

bad idea---It may be a better idea to allow an experimental performance or 2 each month. Rather than segregate the performances and support, as long as it's presented and announced as such during the regular MEDGE show it should be fine. But the music should still be somehow ME influence--no hip hop or non-ME music. But I enjoyseeing the diversity for the dancing and the creativity of the dancing as well.

good idea-- Haven't seen a lot of experimental dance yet. Some did crop up in a recent (non-guild) Show here in Bend. Friends who came to see belly dance were really turned off. I had a "wait and see" attitude. Biggest problem that I saw--dancer with traditional moves and costume dancing to pop song with very inappropriate lyrics. I see the split more as a "tasteful" vs. "not so tasteful" - not as concerned about staying strictly with traditional bellydance forms. Needs to be family-friendly, always.

good idea-- separate for all the reasons that made this an issue worthy of this survey.

good idea--I want to be an "ambassador" to people here who aren't familiar or aware of the incredible cultural and musical styles from this diverse region. To share M.E. Dance is a fun and non-confrontational way to bridge 2 sides of the world. I have thought that too much of this sort of thing is boring to watch at one time. One act (experimental) per MEDGE show could work- as long as the performers were some how representing a *sensitive (sensitive meaning-prepared to perform for an audience wanting M.E.dance, music, and culture) fashion their interpretation. People want M.E. dance. They could go to another dance club to watch Goth, hiphop, etc. But M.E. dance is rare to find. Our venue should continue to be predominantly, solely dance and music of the M.E.--watered-down version elsewhere.

good idea---MEDGE should keep true to their mission statement. There are plenty other venues for experimental dance around the area.

bad idea-- I don't think there should have to be a separate show. It would be a good idea if a monthly MEDGE show showcased all sorts of Middle Eastern based dance, featuring a variety of styles. Not limited or exclusive--with explanation of each style and its history. I think "experimental" would be a great accent to a show put together of more traditional styles.

bad idea--- If you really have to separate the alternative music and fusions from the Middle Eastern music performers, then go ahead and separate them, just do it each month. Offer a M.E. section and group all these dancers together. Inform your purists the month before or in the Harrakat which portion will be entirely M.E. And yes, invite those uninterested in the newest styles to not attend the alternative portion if you wish. Let them know you understood their preference, but don't isolate your alternative music people in their own show. That puts them at a disadvantage with not only opportunity, but advertising. Don't you want everyone to pay their $15.00 dues to volunteer to work at your monthlies, the fall festival, and on the board. Keep all your dancers, supporters, workers and fans coming to your monthlies. You are stronger as a whole. Don't invite a competing guild to organize. That will break apart a wonderful belly dance community you have going. In fact, if you try the "separated monthly" you will probably get a couple of acts now and then, but most likely many of your shows will end entirely M.E. in flavor. If you put the alternative music dancers last it is easy to invite the uninterested to exit and make room for those fans wanting to see their teachers, friends, or family. I've noticed the crowds we get when certain fusion teachers bring out their troupes or sign up to solo or duet. WOW, I'd like a full house like that all the time. Now you have a place to put the performers who want to use alternative music, but still wear beaded M.E. costumes and movement vocabularies. Everyone wins. The MEDGE gets every one's $4.00, no one is discriminated against, your teachers get exposure to all the dancers interested in taking their classes and workshops. Fusion dancers will sign up for M.E. workshops. There are so many advantages to approaching this issue this way.
1. You still get to educate the community about M.E. music and movement.
2. You don't alienate the dancers who study with your local teachers, but reach for innovation.
3. You give the purists their favorite artists in a block for viewing and don't ask them to support the innovators, you give the bellydancers the freedom to dance to music which inspires them whether M.E. or not.
4. You keep your dance community together, not split in two with possible hard feelings and limited interaction.
5. You get all the performing dancers who wish to sign up to stock your monthlies eligible. Wouldn't it be sad if you need dancers one month, someone calls in who is cleared, but you have to tell them they can't dance due to their dance till next January. What if they can't make it that month. You lose them for that month too. The segregated monthly gives every performing member equal opportunity for their $15.00 membership fee. I could go on with more reasons, I like this solution better than those suggested in your survey. But because this option wasn't included in your survey it can't get voted on. Perhaps you didn't offer it because there wouldn't always be an equal number of M.E. music performers as alternative music performers in each show. So what. Say you get 7 M.E. dancers and 2 alternative. Split the show at that point, let the purists leave, the others get their fresh drink and complete the evening. So What if your breakdoesn't come at exactly half. Not a big deal.

good/bad idea--- I am not against other dance forms in belly dance unless they are so far to the right I am unable to understand the intent of the performer. For instance, if a dancer stands on stage with palms raised and pointed to the ceiling and all other body parts in perfect stillness, what am I to get out of this other than a view of arm pits with or without sweat stains. Perhaps I am supposed to feel a Pentecostal moment. That moment is between the dancer and their schizophrenic ideal and is of no consequence to me from a dance enjoyment point. If a dancer is either chasing or running from the rhythm, how am I, the viewer on rhythm, to interpret the dance other than the person has no sense of rhythm. If a dancer choses to wear a cropped top void of decoration how much time did they spend to give me visual candy. And finally, if I attend a Middle Eastern dance venue but the dancer is dressed in a hula outfit, dancing africans to a Strauss waltz, and calling it "experimental" how am I to interpret this? I could wear footed PJs, roll on the floor, and call this "experimental" dance. Art is art after all, but then again, art is only in the eye of the beholder. I feel belly dance is dance from the areas of the Silk Road, the Romany trail, caves, red tents, gypsy camps, Indian nomads, harems, and in the homes, markets, celebrations, and bars of those from the Middle East. I agree that belly dance will grow and change but ballet is ballet. If a tap dancer does their Shuffle off to Buffalo during Swan Lake, a lot is lost in the translation. Hip Hop and a waltz? Only if the music can help me to transition to both. I do not have trouble with fusion. I love fusion, it gives me life. But, in that belly dance fusion I want something of semblance to M.E orientation. I want attention to music, costuming, and dance. We all can dance but not all dancing is enjoyable to watch. Too much experimental with loud music and boring costumes, I'd rather spend my time elsewhere.

bad idea---I like having the variety at the monthly shows. I see no problem in having experimental dance at MEDGE shows as long as it is identified as such.

The Khamsa (Arabic خمسة, literally "five") is an ancient symbol, and serves as a good luck talisman that provides a protecting hand to avert the malevolent and often envious gaze of an "evil eye."

The khamsa comes from folkloric tradition, and is not a part of any religious doctrine. It predates Islam, but is most commonly called the Hand of Fatima after the Prophet Mohammed's daughter. In Jewish culture it is called the Hand of Miriam, after the sister of Moses who saved his life by putting him in a basket by the river.

The Khamsa has, in recent years, become a symbol of the similarities of origins and tradition between the Islamic and Jewish faiths for some activists for Middle East peace.

The symbol is used in amulets, charms, jewelry, door entrances, and other places to ward against the evil eye.