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.