{"id":3824,"date":"2012-02-17T12:38:41","date_gmt":"2012-02-17T19:38:41","guid":{"rendered":"http:\/\/www.gildedserpent.com\/cms\/?p=3824"},"modified":"2012-02-20T20:49:58","modified_gmt":"2012-02-21T03:49:58","slug":"edwina-nearing-end-of-banat-mazin","status":"publish","type":"post","link":"http:\/\/www.gildedserpent.com\/cms\/2012\/02\/17\/edwina-nearing-end-of-banat-mazin\/","title":{"rendered":"The End of the Banat Mazin?"},"content":{"rendered":"<h2><strong>Struggles with Religious  Fanatics, <br \/>\nReal Estate Management&nbsp;,  and Other Ghawazi<\/strong><\/h2>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.gildedserpent.com\/enearing\/graphics\/mazinhousepepper.jpg\" alt=\"Khairiyya and her father Yusuf, 1979 from Pepper's archives\" width=\"300\" height=\"353\" align=\"right\" \/><\/p>\n<h3>by <a href=\"http:\/\/www.gildedserpent.com\/aboutuspages\/edwinanearing.htm\">Edwina Nearing<\/a><br \/>\n<span class=\"footnotes\"> A portion of this article was published in<a href=\"http:\/\/www.gildedserpent.com\/archives\/printmags\/index.html#hab\"> Habibi Magazine<\/a> in 1993<br \/>\nposted February, 2012<\/span><\/h3>\n<p><span class=\"artist\">Yusuf Mazin<\/span>, a Nawari  Gypsy, had wandered the land dealing in livestock, entertaining the villagers  with stories, delivering messages and generally making himself useful until his  non-Gypsy wife blessed him with five beautiful daughters.\u00a0 Beautiful, talented daughters who could  master singing and dancing &#8212; the arts of the <em>ghawazi<\/em>, as such women  were traditionally called in the countryside &#8212; were the best hope for the  prosperity of a Nawari family in Egypt.\u00a0  So as soon as Yusuf&#8217;s oldest daughter, <span class=\"artist\">Su&#8217;ad<\/span>, was seven years old, she  was put on stage behind her aunt<span class=\"artist\"> Labiba<\/span>, a famous dancer in Yusuf&#8217;s home  province of Qena.\u00a0 The other daughters,  <span class=\"artist\">Fathiyya<\/span> (&quot;Touha&quot;), <span class=\"artist\">Feryal, Raja&#8217;<\/span>, and <span class=\"artist\">Khairiyya<\/span>, the youngest, were  served similarly, although Khairiyya, from the age of ten frequently requested  to take a turn in mufti at stick dancing, for which audiences had somehow  discovered her extraordinarily gifted, was allowed to stay in school until the  age of fourteen.<\/p>\n<p>By the mid-1970s the<span class=\"company\"> Banat Mazin<\/span> &#8212; &quot;Daughters of Mazin&quot; &#8212; were as famous in Qena as  oriental dance star <span class=\"artist\">Najwa Fu&#8217;ad<\/span> was in Cairo.\u00a0  The girls wore wide gold bangle bracelets, and usually at least two of  them shared with Yusuf a comfortable, spacious house from which he reigned over  a peaceful Dandara Street near green pastures on the outskirts of Luxor.\u00a0 Yusuf prepared stuffed, roast pigeon for  honored guests like <span class=\"artist\">Cecil B. DeMille<\/span> with his own hands; fair-voiced Su&#8217;ad  recorded audio cassettes in Cairo; she, Fathiyya and Feryal sang and danced in  the Egyptian film <em>Al-Zauja al-Thania;<\/em> and Khairiyya portrayed a  Napoleonic-era <em>ghaziyya<\/em> temptress in a French dramatic production.\u00a0 Fathiyya and Feryal finally married wealthy  men and retired.\u00a0 Even in winter, the  &quot;off season,&quot; the remaining girls often had more work than they could  comfortably handle.<\/p>\n<p align=\"center\"><iframe loading=\"lazy\" width=\"420\" height=\"315\" src=\"http:\/\/www.youtube.com\/embed\/2A0tyqufhEk\" frameborder=\"0\" allowfullscreen><\/iframe><\/p>\n<h6 align=\"center\">\n<em>Tahtib<\/em> and dance with Su&#8217;ad, Fathiyya and Ferial  singing<br \/>and dancing in the 1967 film <em>Al-Zauja al-Thania<\/em><\/h6>\n<div align=\"center\"><\/div>\n<p>Then, in 1985, Yusuf  Mazin died, and everything fell apart.\u00a0  There were wars and rumors of war; religious fundamentalism gained the  upper hand in Egypt and the government caved in to the &quot;fundos<em>&#8216;<\/em>&quot;  professed hatred of dance.\u00a0 Tourism and  the economy plummeted.\u00a0 Su&#8217;ad  retired.\u00a0 Fathiyya died of cancer; a  brother died mysteriously after his family perished in a fire.\u00a0 Raja&#8217; married the personable non-Gypsy proprietor  of a large souvenir shop that eventually went out of business from the decline  in tourism, after which they became economic refugees, always on the move one  step ahead of the latest landlord.\u00a0 By  the early 1990s there were no more &quot;Banat Mazin&quot; &#8212; Khairiyya was  alone.\u00a0 Khairiyya gave in to the  blandishments of a persistent admirer who had pursued her for decades, the  youngest son of a powerful family who was wont to dissipate any money that came  his way &#8212; including Khairiyya&#8217;s &#8212; on drink and drugs, but predictably the  marriage foundered.\u00a0 <\/p>\n<p class=\"highlight\">Khairiyya, fearing to end up a madwoman begging in the streets like her aunt Fahima, was now struggling to finish building a small house on the edge of Luxor.  I remembered Fahima as the wraith-like figure whom I had seen acting as chaperone and luggage guardian during the girls&#8217; performances in 1976.  But Khairiyya held in her mind the image of the mad beggar.  &#8220;Al-sura da&#8217;iman quddami!&#8221; she had once told me in a small, shaking voice, &#8220;The image is always before me.&#8221;  She was determined not to become another bunch of black rags in the street, but she ran out of funds before she could complete building her house.<\/p>\n<div class=\"floatright\">\n<h6 align=\"center\"><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.gildedserpent.com\/articles25\/graphics25\/edwina\/ghawazibwtrio.jpg\" alt=\"Sisters Bazin\" width=\"300\" height=\"206\" \/><br \/>\nKhairiyya&#8217;s eldest three sisters Fathiyya, Ferial and Su&#8217;ad <br \/>\n(from left to right) in the 1960s<\/h6>\n<\/div>\n<p>When I arrived in Luxor  in the winter of 1993, I found Khairiyya sitting on the floor of the  unfinished, unfurnished house, trying to keep warm in front of a small brazier  of coals.\u00a0 Wisely, she had not stopped  working while she was married, telling her husband, &quot;Either you support me  or I work.&quot;\u00a0 But there was no work,  and scarcely any ghawazi to do it.\u00a0 The  nearest ghaziyya was a Bahlawaniyya in the provincial capital, Qena City, about  an hour&#8217;s drive away, who had been blinded in one eye by accident during a  knife fight &#8212; a good dancer, Khairiyya said, but unable to work with another  dancer in a duet or follow cues and hence not very useful for  performances.\u00a0 (The Bahlawan, the Mazins  had told me, were another distinct ethnic group like the Nawar, with their own  language, of which the Mazins had been able to learn only one word, <em>gorwa<\/em>,  &quot;money.&quot;\u00a0 Many Bahlawan were  dancers.)<\/p>\n<p>Khairiya upheld the  honor of her family by making me a luncheon of stuffed, roast pigeon during my  stay in Luxor, <em>a la instar<\/em> Yusuf Mazin, and when I left for Cairo late  one evening, unable to find a carriage, insisted on accompanying me to the  train station on foot and carrying one of my two suitcases.\u00a0 My last sight of her was of a small form  picking its way down the deserted railroad track in the darkness, eerily  reminiscent of the doomed ghaziyya movingly portrayed by <span class=\"artist\">Majda al-Khatib<\/span> in the  final scene of the movie <em>Musafir bila Tariq<\/em> (Traveller without a  Road).\u00a0 When I reached Cairo, I did not  stir from my hotel room for two or three days until I had finished the  following article for <em><a href=\"http:\/\/www.gildedserpent.com\/archives\/printmags\/index.html#hab\" target=\"_blank\">Habibi Magazine<\/a><\/em>.<\/p>\n<p>&nbsp;<\/p>\n<p class=\"sectiontitle\">&quot;Ghawazi on the  Edge of Extinction&quot; (1993)<\/p>\n<p>Researching the  traditional arts of the Middle East is a bit like salvage archaeology &#8212; one  races ahead of the bulldozers to save what cultural remains one can before all  is crushed into oblivion.\u00a0 Economic  pressures and the lemming-like rush toward westernization have induced the  peoples of the Middle East, like most of the world, to turn their backs on  their own rich and diverse cultural heritages and to build themselves,  literally and figuratively, shabby cement boxes to house body and spirit.\u00a0 In the process, many of the Middle East&#8217;s  curious and beguiling arts, crafts, customs and environments have already been  lost.\u00a0 A few researchers scramble to  record what yet survives, both for its own sake and for the delectation and  inspiration of a future which, they hope will value it more than does the  present.<\/p>\n<p>Middle Eastern dance,  that most curious and beguiling of arts, still survives in its homeland,  perhaps because there it is a &quot;social art,&quot; and Middle Easterners in  general are very social people.\u00a0 Dance in  the Middle East celebrates war and peace, birth and the other passages of life;  affirms the solidarity of the family, the tribe, the people; even effects  oneness with God or the All, in the Muslim <em>dhikr<\/em>, <em>sema<\/em>&#8216; and <em>hadra<\/em> ceremonies.\u00a0 The line between spectator  and participant often disappears; dancers, musicians and audience are  interchangeable when the call of the blood, the rhythm of the pulse, the  heartbeat, breaks down social barriers. \u00a0In the ancient Middle East, and among the  Arabs before Islam, the blood was the life, and the <em>qaum<\/em> &#8212; &quot;the  people,&quot; the Arab tribe &#8212; dances the <em>dahiyya<\/em> to the rhythm of the  blood.<\/p>\n<p class=\"highlight\">But it is moot whether  Middle Eastern dance will continue to endure in any of its traditional  differentiated forms.\u00a0 The tribe, be it  Arab, Turkic or Berber, appears to be breaking up, although it would be  premature to consign it to history as some have done, for the <em>qaum&#8217;s<\/em> blood runs deep.\u00a0<\/p>\n<p> <img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.gildedserpent.com\/enearing\/graphics\/dinetdancers.jpg\" alt=\"Dinet's Ouled Nail\" width=\"225\" height=\"262\" align=\"left\" \/>The same forces which  have weakened the tribe have struck at the dance in the Middle East;  westernization and economic pressures have largely destroyed many of its forms,  its practitioners and its venues.\u00a0 Where,  for instance, are the notorious Ouled Nail who haunt the paintings of <span class=\"artist\">Dinet<\/span> and  emptied the pockets of Foreign Legionaries in the &quot;Restricted  Quarters&quot; of Algeria only 40 years ago?\u00a0  Where Syria&#8217;s dazzling <em>Sayf wa Tur<\/em>s dance-duel, its clash of  sword on shield mingling with the shrill ululations of female onlookers?\u00a0 Still, the blood of the <em>qaum<\/em> runs deep  &#8212; the bedouin have not entirely relinquished their <em>dahiyya<\/em>, nor the  tenacious peasantry of Egypt ceased to hire those women of mysterious origin,  the ghawazi, to sing and dance at their festivities.\u00a0 <\/p>\n<p>So we trek to Luxor to  see the ghawazi, and take for granted the steady but slow decline of what  remains of the region&#8217;s traditional dance arts.\u00a0  But now an old enemy, religious intolerance, has joined hands with the  modern forces arrayed against the dance, threatening to turn a slow decline  into a fatal hemorrhage.\u00a0 More than once  in the past, a relatively few but violence-prone extremist adherents of Islam,  the Middle East&#8217;s dominant religion, have caused dance, sometimes even music,  to be banned and harried its practitioners.\u00a0  Heretofore the rhythm of the blood has always proven stronger than the  brief spasms of fanaticism and repression.\u00a0  Now, however, religious intolerance has strong, new allies: world  recession, undercutting financial support for the arts; inflation, increasing  the price of admission to venues showcasing professional dance to beyond the  reach of most pockets; infatuation with the powerful West, rejecting things  Eastern and embracing things Western in hopes that some of the West&#8217;s perceived  power will rub off; the spread of technology, making it cheaper and easier to  watch a videotape at home than to dress up and buy a ticket to an expensive  dance show; even overpopulation, skewed heavily toward an unproductive and  growing majority under 25 years of age, mostly the impoverished children of  teeming cities, raised on American television soap operas and cut off from  their own cultural heritage.<\/p>\n<p>Dance cannot be  legislated or coerced out of humanity, but as we have seen, specific forms of  dance can perish, along with all their associated traditions and  accessories.\u00a0 For the last two years or  so &#8212; at least since 1991, if not earlier &#8212; the ghawazi have been a focus for  the hostile forces converging on the dance in the Middle East.\u00a0 The ghawazi are the famed traditional, largely  hereditary female entertainers of the Egyptian countryside, and ghawazi  dancing, which is attested to in literature for several hundred years, is the  primary source of the Egyptian <em>danse orientale<\/em> or &quot;belly  dance.&quot;\u00a0<\/p>\n<p class=\"highlight\"> A century and a half ago  most of the professional dancers of Egypt in both the cities and the  countryside were referred to as &quot;ghawazi;&quot; now the term is used in  Egypt to describe the dancers of the countryside who still perform in the old  manner, who have not added anything to their repertoire from ballet, Latin  American or modern dance as have the &quot;oriental dancers&quot; of the city  nightclubs.<\/p>\n<table width=\"128\" border=\"0\" align=\"left\" cellpadding=\"8\" cellspacing=\"0\">\n<tr>\n<td><iframe src=\"http:\/\/rcm.amazon.com\/e\/cm?lt1=_blank&#038;bc1=000000&#038;IS2=1&#038;bg1=FDE1BB&#038;fc1=000000&#038;lc1=0000FF&#038;t=thegildedserpent&#038;o=1&#038;p=8&#038;l=as1&#038;m=amazon&#038;f=ifr&#038;ref=tf_til&#038;asins=140218655X\" style=\"width:120px;height:240px;\" scrolling=\"no\" marginwidth=\"0\" marginheight=\"0\" frameborder=\"0\"><\/iframe>\n<\/td>\n<\/tr>\n<\/table>\n<p>The ghawazi are also  distinguished by being largely, though not entirely, of non-Egyptian and  non-Arab origin.\u00a0 The early 19th century  orientalist <span class=\"artist\">Edward Lane<\/span>, in his book <em>An Account of the Manners and Customs  of the Modern Egyptian<\/em>s, called them &quot;a distinct race&quot; who  &quot;sometimes make use of a number of words peculiar to  themselves.&quot;\u00a0 My own research among  the Mazin family of Luxor, which for many years have provided the leading  ghawazi of Egypt, confirmed what I had come to suspect, that the ghawazi  contain at least several obscure ethnic groups; the Mazins listed Nawar,  Bahlawan, Halab and Shahaina.\u00a0 Each  group, apparently, has its own language; the Mazins, who are of the Nawar,  claim that their language is unrelated to any of those spoken by the other  groups.\u00a0 The small Nawari vocabulary I  have collected demonstrates some affinities with Hindi, suggesting that the Nawar  may have originated in or near India, probably North India or Pakistan,  consistent with researchers&#8217; identification of the Nawar as Gypsies. <\/p>\n<p>Ghawazi are still in  demand in the villages of Upper Egypt to perform for the same functions for  which, according to Lane, they were employed over 150 years ago: engagement  parties, weddings and circumcision celebrations.\u00a0 It is thought to bring honor to a family to  provide a ghawazi show for the people of the village at such auspicious times;  in Upper Egypt, from three to five ghawazi &#8212; even more if finances and  availability allow, which is no longer the case &#8212; are hired to perform  virtually all night, usually on a high wooden stage built outdoors especially  for the occasion.\u00a0 The ghawazi of the  Luxor area, most conspicuously the Mazins, also carry on another tradition  recorded by many 19th century travelers, that of performing indoors or on Nile  boats for private parties organized for tourists visiting the pharaonic  monuments that abound in Egypt.\u00a0 These  take place mostly in the &quot;off&quot; or &quot;cold season,&quot; from  November to April, when the weather is more agreeable to foreigners; the rest  of the year, the &quot;warm season,&quot; is preferred by Egyptians for the  outdoor festivities at which the Mazins and other ghawazi perform.<\/p>\n<p>But now, in January of  1993, there are no ghawazi performing in Luxor.<\/p>\n<p>The economic situation,  the videocassette recorder, and the soap opera syndrome have taken their toll  of the ghaziyya&#8217;s popularity of late, but when I visited Khairiyya Mazin early  last year, she and her sister Raja&#8217; performed at least five times during the  week or so I was in Luxor, and it was clear that they had lost none of their  skills.\u00a0 One of their performances, for a  group of middle-age Finnish tourists who appeared to have imbibed too much  beer, was barely adequate, but another, for a minuscule group of American dance  enthusiasts, was superb.\u00a0 Their slow  movements in the dance, accompanied by sighing violin-like <em>rababas<\/em>, had  the mesmerizing, self-absorbed languor of an odalisque in an orientalist  painting, and seemed to slow down Time itself.\u00a0<\/p>\n<p class=\"highlight\">Their fast work was infused with such energy that the dancers seemed to  vibrate, and they &quot;played off each other&quot; &#8212; subliminally took cues  from each other&#8217;s movements as they improvised, and meshed accordingly &#8212; such  that at times it was as if there was an electric current running between them,  a marvelous tension that hypnotized the onlooker.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.gildedserpent.com\/enearing\/graphics\/Mazinsisters.jpg\" alt=\"Mazin Sisters\" width=\"300\" height=\"441\" align=\"right\" \/>I had entertained some  thought of working at least part of the &quot;warm season&quot; with Khairiyya  and Raja&#8217; as I had in the past; their sisters had retired, leaving just the  youngest two to carry on, and the villagers preferred to hire groups of three  or more ghawazi for greater honor and a braver show.\u00a0 Of equal importance to Khairiyya and Raja&#8217;  was the respite that a third dancer would give them &#8212; the village performances  average five to seven hours in length, with no intermission, so the more the  dancers, the less the workload on each.\u00a0  But Khairiyya had disturbing news.\u00a0  The authorities in the provincial capital had outlawed public dance  performances in the villages where they were most popular.\u00a0 Although it was not clear to me at the time,  I suspect that such performances had been, or at least are by now, banned  throughout the province, although it may in some cases be left to the discretion  of the local authorities in the various districts to enforce the ban, for Qena  Province is large.<\/p>\n<p>This was disheartening  news to me, not so much for how it affected my own short-term plans, but for  what it meant for the survival of the ghawazi and their art.\u00a0 Over the years I had seen village after  village close its doors to the <em>farahat<\/em>, the great public celebrations of  weddings and other happy occasions of which the ghawazi were the centerpiece  and which, like fairs, attracted visitors from surrounding areas.\u00a0 Indeed, it was the very popularity of the <em>farahat<\/em> which contributed to their downfall, for in the crowded excitement of the  night, with beer often freely available and firearms being discharged in the  traditional Arab &quot;joy shots,&quot; fights sometimes broke out.\u00a0 It was not unknown for an outsider in a state  of vendetta with an individual or family of the host village to take advantage  of the <em>farah<\/em> to attempt a revenge killing.\u00a0 So it was that the dominant factions in some  villages had ended the great public dance <em>farahat<\/em>, and it was not  unnatural for me to assume that the central authorities, in the name of law and  order, had decided to ban them entirely.\u00a0  &quot;But it will take more than a few policemen to keep the <em>Sa&#8217;aida<\/em> &#8212; the unruly people of Upper Egypt &#8212; from their wonted pastimes,&quot; I  tried to reassure myself, uneasily aware that Time itself was against the  ghawazi, that with increasing westernization, the traditional <em>farahat<\/em> had already been losing popularity.<\/p>\n<p class=\"highlight\">&quot;And why have they  banned the <em>farahat<\/em>?&quot; I asked Khairiyya.\u00a0 &quot;The Islamic fundamentalist groups.\u00a0 They want to forbid dancing, stop tourism,  and,&quot; she added disgustedly, &quot;make women cover themselves completely,  even their faces!&quot;\u00a0 To all Middle  Easterners, the term <em>munathamat islamiyy<\/em>a (Islamic organizations) had  come to signify a major destabilizing force in Middle Eastern society, for good  or ill, depending on their viewpoint.\u00a0 To  many, it simply means &quot;those dangerous religious fanatics.&quot;<\/p>\n<p>Extremist members of the <em>munathamat<\/em>, the <em>irhabiyyin<\/em>, or &quot;terrorists,&quot; had  attacked &quot;godless foreign tourists,&quot; killed Egyptian policemen, and  broken up <em>farahat<\/em>, sometimes precipitating bloodshed.\u00a0 In Cairo, it was rumored, <em>irhabiyyin<\/em> had thrown acid in the faces of oriental dancers.\u00a0 Everyone lived under their threat.\u00a0 The authorities in Qena didn&#8217;t care to give  them any excuse for violence; indeed, the <em>munathamat<\/em> had sympathizers,  even members, among the Qena authorities and constabulary.\u00a0 A few Sa&#8217;aida continued to hold public <em>farahat<\/em> in defiance of the <em>munathamat<\/em> and the new regulations, especially in the  far north, in the region of Al-Balyana, but the 1991 &quot;warm season&quot;  had been a disaster for the ghawazi.\u00a0 The  Banat Mazin had been virtually unemployed.<\/p>\n<p>&quot;<em>Ta&#8217;ishi zayy<\/em>?&quot;  I asked Khairiyya.\u00a0 &quot;How are you surviving  then?\u00a0 How will you finish building your  house?&quot;\u00a0 The house was the  equivalent of a narrow one-bedroom apartment in the West; after her father had  died in the mid-1980s, the Mazin family house had been sold and Khairiyya had  to fend for herself, all her sisters being married at the time.\u00a0 She had rented a modest flat, scrimped and  saved, and finally been able to buy a tiny piece of land on the edge of  town.\u00a0 She hoped to build a second story  to her house and reside there so that she could rent out the first story; the  rent would be a sort of &quot;social security&quot; or pension when she became  too old to dance.<\/p>\n<p>Khairiyya assured me  that although she could no longer work at the <em>farahat<\/em>, opportunities for  work within the town of Luxor itself had increased dramatically.\u00a0 Travel agencies, hotel management and  restauranteurs had finally awakened to the fact that the hordes of tourists who  descended on Luxor during the winter to see the tombs and temples of the  pharaohs wanted something to occupy their time in the evenings too, and that  there could be profit in it.\u00a0 The  folkloric shows which for years had been presented regularly at the Winter  Palace, Luxor&#8217;s oldest large hotel, were proven crowd pleasers, and the other  big hotels had slowly followed suit.\u00a0  Perhaps the occasional groups of Middle Eastern dance enthusiasts who  have been coming to Luxor over the last decade or so and arranging their own  ghawazi parties also gave the movement a nudge.\u00a0  Now everyone in tourism, it seemed, had gotten into the act, and there  was enough work in Luxor to keep the ghawazi fully employed, at least in the  winter &#8212; dancers were even being brought from Cairo.\u00a0 Hence I was able to see several performances  by the Banat Mazin during my brief stay in Luxor in 1992, and I had reason to  hope that the ghawazi would survive for a while longer.<\/p>\n<p class=\"highlight\">Within minutes of my  arrival at Khairiyya&#8217;s house in January, 1993, I learned that my hope was ill  founded.\u00a0 &quot;Everyone is forgetting  the <em>karama<\/em> &#8212; the honor, the high prestige &#8212; of the Banat Mazin,&quot;  Khairiyya lamented.\u00a0 &quot;No one  respects <em>art<\/em> anymore.\u00a0 The town is  full of belly dancers from Cairo and Al-Minya; no one asks for us&#8230;  &quot;\u00a0<\/p>\n<p> <img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.gildedserpent.com\/enearing\/graphics\/Khairiyyaathome.jpg\" alt=\"Khairiyya at home\" width=\"300\" height=\"503\" align=\"left\" \/>She had no work, so she had  allowed her licenses to expire, papers without which a dancer is not permitted  to work in Egypt and which have to be renewed yearly: the expensive 200 L.E.  license from the Ministry of Tourism, the license from the &#8216;Adab (the  &quot;vice squad&quot;) and all the others with which Egyptian bureaucracy  burdens the performing artist.\u00a0 Her  sister and performing partner Raja&#8217; had married a well-to-do gentleman of the  town, leaving her without anyone to work with who knew the <em>Jihayni<\/em>, <em>Nizzawi<\/em> and other dances that require more than one person.\u00a0 Khairiyya was trying desperately to finish  her house so that she could let the downstairs portion; later I found that she  had no money to finish the work, and had already received and spent a deposit  on the downstairs apartment, which she would have to vacate when the new  tenants took possession in another month or two.\u00a0 The upstairs apartment, to which Khairiyya  was supposed to move, was still half-mortared walls and rubble.<\/p>\n<p>That evening and on  subsequent ones, we huddled around a clay pot full of burning charcoal in the  smallest room of the house, wrapped in layers of clothing and blankets, and I  heard more.\u00a0 Khairiyya apologized for the  brazier; she had had to sell her electric space heater; her television and  refrigerator also, I had noticed, were gone.\u00a0  She had tried to work the previous summer at the <em>farahat<\/em> which  some Sa&#8217;aida in the distant Al-Balyana area still attempted to hold in defiance  of the law and the <em>munathamat<\/em>.\u00a0  The ghawazi in that area, she said, were mostly of the Bahlawan rather  than her own people, the Nawar, who referred to them by the Nawari term <em>sharistiyya<\/em>,  &quot;thieves.&quot;<\/p>\n<p>As it took nearly all  day to reach Al-Balyana from Luxor by the cumbersome local transportation  system, Khairiyya took up residence with <span class=\"artist\">Umm Hashim<\/span>, a prominent ghaziyya of  Abu Shousha, the ghawazi quarter of Al-Balyana.\u00a0  &quot;To see her on stage, you would say she was a queen,&quot;  Khairiyya said, &quot;but she was dirty &#8212; she stank!&quot;\u00a0 As did all the ghawazi of the area, in my  friend&#8217;s opinion.\u00a0 Umm Hashim&#8217;s bathroom  was so filthy that Khairiyya was hard put to bathe after a performance; she didn&#8217;t  even want to touch the cushions on the divans, let alone recline on them, for  they too stank.\u00a0 She lasted a week with  Umm Hashim; &quot;seven days in hell,&quot; Khairiyya said.<\/p>\n<p>The  &quot;sharistiyya&quot; comment was explained.\u00a0  Khairiyya&#8217;s Bahlawan &quot;colleagues,&quot; as she called them  sarcastically, had stolen most of her costumes, wigs, and other things of  value.\u00a0 But her days among the ghawazi of  Al-Balyana were numbered anyway, for after a few performances the police raided  a <em>farah<\/em> and dragged her and her &quot;colleagues&quot; off to jail where  they all spent the night shivering in the cold in their costumes.\u00a0 One officer told Khairiyya that if he caught  her again, he would kill her.\u00a0 Then she  was formally arraigned, &quot;as if I were a great criminal, a public enemy,  and not an artist.&quot;\u00a0 As her  experiences in Al-Balyana did not augur well for her future in the area, she  reluctantly decided to give up the <em>farahat<\/em> there.<\/p>\n<p>I asked Khairiyya if the  ghawazi of Al-Balyana were still working.\u00a0  So far as she knew, they were.\u00a0  &quot;The police catch them and imprison them one day and they just  appear somewhere else the next.&quot;\u00a0  And the people of Hamadat, Qenawiyya, and the other villages in Qena  where the Mazin ghawazi were popular, were they still hiring dancers for <em>farahat<\/em>?\u00a0 They were, a little, and when I wondered  aloud that the villagers were not afraid of the authorities, Khairiyya said  that they kept a sharp watch for the police and as soon as any were sighted the  villagers would &quot;grab the dancers and throw them into the cultivation &quot;  &#8212; the fields of sugarcane or whatever around the village &#8212; to hide.\u00a0 This, however, was dangerous; it was too easy  for a dancer alone in the dark, in the fields, to be harassed or even attacked,  especially in the excitement of a raid.\u00a0  At any rate, Khairiyya sighed, her health was not good and she couldn&#8217;t  endure much of this sort of treatment.\u00a0  Her sister Su&#8217;ad later told me that the police of Qena had specifically  warned Khairiyya not to work in the area, claiming that they could not protect  her from the <em>irhabiyyin,<\/em> the terrorists.\u00a0 <\/p>\n<p>So Khairiyya had passed  the long &quot;warm season&quot; with little work and less income, hoping that  the winter tourist season would be better.\u00a0  But winter found Luxor inundated with oriental dancers from Cairo, dancers  whom she claimed were <em>sahilin<\/em>,&quot;easy,&quot; willing to exchange  sexual favors for work or gifts and to perform in any venue, under any  circumstances.\u00a0 <\/p>\n<p class=\"highlight\">Su&#8217;ad said that some of  these dancers tried to pass themselves off as folkloric artists by wearing  folkloric costumes, but she wasn&#8217;t impressed, saying that they ruined the  visual effect with &quot;foreign-style make-up and hair-do&#8217;s.&quot;<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.gildedserpent.com\/enearing\/graphics\/boatdance.jpg\" alt=\"Dance on the Boat\" width=\"300\" height=\"457\" align=\"right\" \/> She thought that they had come down from  Cairo out of fear of the <em>irhabiyyin<\/em>.\u00a0  I thought that it was more likely that they were just looking for steady  work and had heard of the demand for dancers in Luxor.\u00a0 Whatever the reason, their numbers and easy  availability had driven out the true folkloric artists; even the local  musicians had turned against the Banat Mazin, Khairiyya claimed, preferring the  more accommodating dancers from Cairo.\u00a0  And the favor of the musicians was important for obtaining work in  Luxor, as most employers in the town, often inexperienced in the entertainment  business or from outside the area, left it to the musicians to recommend or  provide dancers, unlike the Sa&#8217;aida of the countryside who knew their dancers  and contracted with them directly.<\/p>\n<p>Khairiyya was now the  last ghaziyya in the Luxor area, her own relatives having married and  retired.\u00a0 And she, accomplished exponent  of an antique art, she, still young, whose arms and neck had once been draped  in gold, could no longer support herself.\u00a0  In desperation she was considering an arranged marriage but, as she  said, &quot;How can I know if the man is good?\u00a0  I would rather work for a thousand years than live one day with a man I  hated.&quot;\u00a0 Nor did she really want to  &quot;sit at home all the time and get fat and forget how to dance.&quot;\u00a0 She had told me just the previous year that  even if she were comfortably married she would not wish to stop working  entirely, both to maintain a position of strength from which to deal with her  husband, &quot;and that the fame of the Banat Mazin not perish.&quot;<\/p>\n<p>I tried to think of  something that would assure her of an adequate, reliable income and enable her  to remain in her chosen field, something, moreover, that might improve the odds  that the dance of the ghawazi would survive for a while longer in spite of all  the forces which were gathering against it like an unlucky conjunction of the  planets.\u00a0 An answer lay ready to  hand, suggested by a recent encounter with a Swedish dance student on her way  to Luxor who had asked me if I knew of any ghawazi who might be willing to give  dance lessons.\u00a0 I had given her  Khairiyya&#8217;s address with a note of recommendation, confident that Khairiyya,  who had helped me to learn something of ghawazi dance and seemed to have an  almost telepathic ability to understand foreigners despite her ignorance of  Western languages, would oblige.\u00a0 The  student had never appeared, but the idea was good &#8212; the Swedish student had  not been the first to ask me about ghawazi dance lessons.\u00a0 I broached the idea to Khairiyya, and she was  enthusiastic.\u00a0 We settled on a rate if 60  L.E. &#8212; about U.S.$18.00 &#8212; for an hour-and-a-half lesson, in accordance with  what was charged by oriental dancer <span class=\"artist\">Nadia Hamdi <\/span>in Cairo.\u00a0 This would not solve Khairiyya&#8217;s immediate  problems, but if she could somehow hold on for a few months longer until word  of the &quot;Mazin Institute for Folk Arts&quot; spread through the  international dance community &#8212; well, the idea was good.<\/p>\n<p>If she could hold  on.\u00a0 If the dancers of Al-Balyana could  hold on, if the Sa&#8217;aida could hold on, if lovers of art and freedom &#8212; the two  somehow seem intertwined &#8212; could hold on.\u00a0  It must not be thought that Khairiyya Mazin&#8217;s story is an isolated  phenomenon.\u00a0 Given the present inimical  climate of religious intolerance, bureaucratic obstruction, economic recession,  and westernization, similar stories must be unfolding all over the Middle  East.\u00a0 Recent years have seen oriental  dance outlawed in countries from Libya to Iran, but oriental dance is an  eclectic, ever evolving form, and as such can absorb interruptions, and its  suppression in one country merely tends to cause it to flourish in another.\u00a0 But if the ghawazi are long suppressed, they  will likely perish, and if they perish, one of the last major, distinct Middle  Eastern dance traditions perishes with them.\u00a0  The ghawazi arts have proved tenacious, surviving into the late 20th century  where others have failed.\u00a0 If they, too  go down the road to extinction, can the remaining Middle Eastern dance  traditions, traditions which are the roots of oriental dance, be far behind?<\/p>\n<p align=\"center\"> O Believers:\u00a0 <em>Inna Allaha jamilun wa yahubbu al-jamal<\/em><br \/>\n&quot;Verily God is  beautiful and loves what is beautiful&quot;<br \/>\n&#8211;A <em>hadith<\/em><\/p>\n<p> (Revised 2012)<br \/>Author&#8217;s note:\u00a0 Khairiyya Mazin is still performing and  teaching. <em><br \/>\n[Ed note- Khairiyya will be in Toronto at IBCC this May 2012, GS will be there and so should you!]<\/em><\/p>\n<p><img decoding=\"async\" src=\"http:\/\/www.gildedserpent.com\/graphics\/acommentbox.jpg\" alt=\"use the comment box\" align=\"right\" \/><\/p>\n<div class=\"ready4more\">\n<p>Have a comment? Use or comment section at the bottom of this page or <a href=\"mailto:editor@gildedserpent.com\">Send us a letter!<\/a> <br \/>\nCheck the &quot;<a href=\"http:\/\/www.gildedserpent.com\/let2ed.htm\">Letters to the Editor<\/a>&quot; for other possible viewpoints!<\/p>\n<p>Ready for more?<\/p>\n<\/p><\/div>\n<p>\t\t\t<!--end ready4more --><\/p>\n<div class=\"articlelist\">\n<ul>\n<li><span class=\"articledate\">1-3-04<\/span> <a href=\"http:\/\/www.gildedserpent.com\/articles25\/edwinakhairiyyastruggles.htm\">Khairiyya Mazin Struggles to Preserve Authentic Ghawazi Dance Tradition<\/a><br \/>\nBut when Khairiyya Mazin retires, one of the most distinctive traditions of Ghawazi dance may come to an end.<\/li>\n<li><span class=\"articledate\">10-31-11 <\/span><a href=\"http:\/\/www.gildedserpent.com\/cms\/2011\/10\/31\/edwina-nearing-sirat-al-ghawazi-part10\/\" class=\"articlelink\">Sirat Al-Ghawazi, Ghawazi Research, Part 10: 1977, Nawary Gypsy Background of the Mazin Ghawazi<\/a> <span class=\"articleauthor\">by Edwina Nearing<\/span><br \/>\n&quot;They came to the aforesaid Shah and asked him for dwellings in his country \u2026 the greater portion he placed in Mazandaran as a check to the pride of the Uzbak, Turkmans, Umid, and the nomad Tatars, who are always starting raids, and acting as highwaymen.&quot;<\/li>\n<li><span class=\"articledate\">12-12-11 <\/span><a href=\"http:\/\/www.gildedserpent.com\/cms\/2011\/12\/12\/edwina-nearing-ghawazi-research-part11\/\" class=\"articleauthor\">Sirat Al-Ghawazi, Part 11- 1977, Research Strengthens the Impression that Until Recently, the Majority of Professional Dancers in Mid East Were Gypsies<\/a><span class=\"articleauthor\"> by Edwina Nearing<\/span><br \/>\n&quot;She is a professional singer and dancer, being taught by her mother from her earliest youth, and with the menfolk beating the taboor (drum) and twanging the kamanga (zither) she gives turns at the Beduin encampments for which the &quot;hat&quot; is passed round afterwards. <\/li>\n<li><span class=\"articledate\">6-8-04<\/span> <a href=\"http:\/\/www.gildedserpent.com\/articles27\/edwinanagwasultan.htm\">Nagwa Sultan: Cairo Soul<\/a><br \/>\nLike a number of other Egyptian dancers who retired in the early &#8216;90s, Nagwa couldn&#8217;t turn her back on the dance world entirely, however tarnished the glitter had become.<\/li>\n<li><span class=\"articledate\">2-11-04<\/span> <a href=\"http:\/\/www.gildedserpent.com\/enearing\/edwinaghawazich1.htm\">Sirat Al-Ghawazi, Part 1<\/a><br \/>\nBegun in the mid-1970&#8217;s , the early sections of &quot;Sirat Al-Ghawazi&quot; were first published under the title &quot;The Mystery of the Ghawazi.&quot; We are happy to be able to respond to the continued demand for these articles by making them available to our readers worldwide.<\/li>\n<li><span class=\"articledate\">10-6-09<\/span> <a href=\"http:\/\/www.gildedserpent.com\/cms\/2009\/10\/06\/peppermazinphotos\/\">Researching Dance Origins with the Mazin Family, Photo from Pepper&#8217;s Archives Part 2<\/a> <span class=\"articleauthor\">Text by Pepper Alexandria with additions by Edwina Nearing<\/span><br \/>\nYusuf, Khairiyya and Raja looked a Pepper&rsquo;s hopeful face with the tears standing in her eyes and caved in. A private performance was arranged to take place on the flat roof of the Mazin&rsquo;s home in full costume with live musicians.<\/li>\n<li><span class=\"articledate\">2-13-12<\/span> <a href=\"http:\/\/www.gildedserpent.com\/cms\/2012\/02\/13\/lisa-chen-organic-cycle-enters-taiwan\/\" class=\"articlelink\">Organic Cycle Enters Taiwan\u2019s BD Community: 2 \u201cUnusual\u201d Taipei Workshops Demonstrate New Trend<\/a> <span class=\"articleauthor\">by Lisa Chen, Photos courtesy of Kelli Li &amp; Jane Chung<\/span>, <a href=\"http:\/\/www.gildedserpent.com\/art56\/LisaChenOrganicCycleTaiwanChinesetranslation.html\"><em><strong>Traditional Chinese Translation here<\/strong><\/em><\/a><br \/>\nTaiwan, as one of Belly dance communities in the Asian region where Belly dance has been blooming in the past decade, is no exception from a heavily choreography-oriented mainline trend. <\/li>\n<li><span class=\"articledate\">2-12-12<\/span> <a href=\"http:\/\/www.gildedserpent.com\/cms\/2012\/02\/12\/yasmela-shelley-tulle-bi-telli\/\" class=\"articlelink\">The Mystery of Tulle bi Telli, Assuit Shawls, a Research Paper from 1979<\/a> <span class=\"articleauthor\">by Yasmela-Shelley Muzzy<\/span><br \/>\nThe romance that surrounds these shawls harkens back to a different era, when handicrafts were valued for their own sake, and intricate decoration of everyday objects was part of everyone\u2019s life.<\/li>\n<li><span class=\"articledate\">2-11-12<\/span> <a href=\"http:\/\/www.gildedserpent.com\/cms\/2012\/02\/11\/gabriel-amani-oriental-festival-photos\/\" class=\"articlelink\">Amani Oriental Festival Photos, October 25-29, 2011, Beirut, Lebanon<\/a> <span class=\"articleauthor\">Photos by Gabreil Monserrat Lopez, Introduction by Lucia<\/span><br \/>\nAs a professional performer, I was impressed with the high caliber of dance instructors. The majority of instructors were Lebanese and offered a diverse repertoire of Lebanese Oriental and folkloric technique with emphasis in dramatic moves, staging and communication through movement with modern dance components.<\/li>\n<li><span class=\"articledate\">2-9-12<\/span> <a href=\"http:\/\/www.gildedserpent.com\/cms\/2012\/02\/09\/bduc2011-group-division-photos-and-video\/\" class=\"articlelink\">Group or Troupe Division of the Belly Dancer of the Univerce Competition Photos and Video<\/a>,<span class=\"articleauthor\"> Photos by Carl Sermon, video collage by Lynette<\/span><br \/>\nThe Belly Dancer of the Universe Competion is produced by Tonya and Atlantis in mid February each year in the Long Beach Convention Center. Most photos are linked to enlargements.<\/li>\n<li><span class=\"articledate\">2-4-12<\/span> <a href=\"http:\/\/www.gildedserpent.com\/cms\/2012\/02\/05\/caroline-interview-nelly-fouad\/\" class=\"articlelink\">Nelly, Beloved Star of Egypt, An Interview with Nelly Fouad<\/a> <span class=\"articleauthor\">by Caroline Evanoff<\/span><br \/>\nI asked Nelly if there was any comparison to the Awalim of Mohamed Ali street and she said no, they were different; the Alexandrian Awalim had a real school for teaching the arts \u2014 they were strict and corrected your mistakes.<\/li>\n<li><span class=\"articledate\">2-2-12 <a href=\"http:\/\/www.gildedserpent.com\/cms\/2012\/02\/02\/leyla-lanty-report6-cairo\/\">Last Round of Visits, Family Dinner Party and Wrap Up, A Month In Cairo, Report #6<\/a> by Leyla Lanty<\/span><br \/>\nI\u2019ve seen this often here, that men and boys will readily play with the little ones in an involved and endearing way.<\/li>\n<li><span class=\"articledate\">1-30-12<\/span> <span class=\"articlelink\"><a href=\"http:\/\/www.gildedserpent.com\/cms\/2012\/01\/30\/najia-bully-for-you\/\">Bully for You! The Science of Dance<\/a><\/span><span class=\"articleauthor\"> by Najia Marlyz<\/span><br \/>\nI have observed a cycle in which, periodically, emerging dancers who have obtained slightly more prominence in the craft begin to make recycled attempts to regulate it through instructional devices in order to control it to their own personal ends.<\/li>\n<li><span class=\"articledate\">-27-12 <\/span><a href=\"http:\/\/www.gildedserpent.com\/cms\/2012\/01\/27\/stasha-interview-anne-lippe\/\"><span class=\"articleauthor\">\u201cNo Path is Straight!\u201d says Anne Lippe, One of the First Westerners to Dance in Egypt<\/span><\/a> <span class=\"articleauthor\">by Stasha<\/span><br \/>\n\u201cSabri worked everywhere, especially the Nile Hilton. He did a lot of weddings, so we worked at all the hotels. We subbed for Nagwa Fouad at the Meridien hotel on her night off. We went all over Cairo and Alex too, so it was a good way to get around and know the area.<\/li>\n<li><span class=\"articledate\">1-23-12 <\/span><a href=\"http:\/\/www.gildedserpent.com\/archives\/gigbagvideos.htm#33\" class=\"articlelink\">Gigbag Check #33 with Sa&#8217;diyya of Texas!<\/a> <span class=\"articleauthor\">Video on the Gigbag Check Page<\/span><br \/>\nGilded Serpent catches Sa&#8217;diyya backstage at the Belly Dancer of the Universe Competition in February 2011. She shows us her tools of the trade, including:safety pins (of course), mirror, curling iron, carpet tape, and all of her jewelry organized in a binder full of zip lock bags. She also tell us about using a fedora in a modern folk dance from Iran or Persia. Her mother helps her with her costumes.<\/li>\n<li><span class=\"articledate\">1-20-12<\/span> <a href=\"http:\/\/www.gildedserpent.com\/newsgraphics\/ComKaleidoscope.htm\" class=\"articlelink\">Sahra&#8217;s Drum Solo Class with Amir Sofi at the Bellydancer of the Universe Competition in 2011<\/a>,<span class=\"articleauthor\"> video on the CK<\/span><br \/>\nSahra is also given the lifetime achievement award. Lovina gives testimonial to how much she enjoyed the class<\/li>\n<li><span class=\"articledate\">1-19-12<\/span> <span class=\"articlelink\"><a href=\"http:\/\/www.gildedserpent.com\/cms\/2012\/01\/19\/leila-farid-facing-truth-working-dancer-egypt\/\">Facing the Truth, Working as a Dancer in Egypt<\/a><\/span> <span class=\"articleauthor\">by Leila Farid<\/span><br \/>\nSometimes the dirty facts of dancing in Cairo can be more interesting than the pristine Oriental fantasy\u2026 at least, it is when you tell the story later! PHOTOS!<\/li>\n<li><span class=\"articledate\">1-17-12<\/span> <span class=\"articlelink\"><a href=\"http:\/\/www.gildedserpent.com\/cms\/2012\/01\/17\/antoinette-awayshak-part-2\/\">A Dancer&#8217;s Destiny, Part 2: A New Dancer Emerges<\/a><\/span> <span class=\"articleauthor\">by Antoinette Awayshak\/Khoury<\/span><br \/>\nLou Shelby had told me to begin that Friday night. (The Fez only had entertainment on the weekends at that time.)   An Egyptian dancer, Maya, and a Las Vegas dancer, Cozette, were working there; so I was the third dancer on the program.  I came in early for a rehearsal; Lou\u2019s idea was to have a real Hollywood-like production: I was to emerge in a flood of colored lights amidst smoke from a smoke machine and open his show.<\/li>\n<\/ul><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Struggles with Religious Fanatics, Real Estate Management&nbsp;, and Other Ghawazi by Edwina Nearing A portion of this article was published in Habibi Magazine in 1993 posted February, 2012 Yusuf Mazin, a Nawari Gypsy, had wandered the land dealing in livestock, entertaining the villagers with stories, delivering messages and generally making himself useful until his non-Gypsy [&hellip;]<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[21],"tags":[],"_links":{"self":[{"href":"http:\/\/www.gildedserpent.com\/cms\/wp-json\/wp\/v2\/posts\/3824"}],"collection":[{"href":"http:\/\/www.gildedserpent.com\/cms\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.gildedserpent.com\/cms\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.gildedserpent.com\/cms\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"http:\/\/www.gildedserpent.com\/cms\/wp-json\/wp\/v2\/comments?post=3824"}],"version-history":[{"count":0,"href":"http:\/\/www.gildedserpent.com\/cms\/wp-json\/wp\/v2\/posts\/3824\/revisions"}],"wp:attachment":[{"href":"http:\/\/www.gildedserpent.com\/cms\/wp-json\/wp\/v2\/media?parent=3824"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.gildedserpent.com\/cms\/wp-json\/wp\/v2\/categories?post=3824"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.gildedserpent.com\/cms\/wp-json\/wp\/v2\/tags?post=3824"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}