Letters to the editor of the Gilded Serpent

6-8-09 re: letters re: letter below
Dear Lynette:
I must say that I grow rather weary of reading descriptors such as “racist,” “hateful,” “xenophobic,” “judgmental,” “lack of respect,” etc., when one contributor disagrees with another. So weary do I become, that I will often fail to read through an article or letter that begins this way because such works seem like polemics rather than serious writings to me, and are therefore not worth my time.

Unlike Sierra, I fail to see the “hate” in letters from Surreyya Hada and Elaine. Letters filled with hatred and bigotry would read very differently, I think. Finally, it should be remembered that Mr. Bamberger made his point about “women being unclean from the waist down” to a Western audience whose members, in general, cherish and value what we have come to regard as “women’s rights.” Strong negatives should have been expected given this context, and I was impressed by the diplomatic manner in which both Surreyya Hada and Elaine responded to his claims.

6-7-09 re: letters re: letter below
I am referring to the recent lettered responses to NRODO, regarding the fact that they feel the man who wrote the letter , along with the whole Romani culture is misogynistic and comparing it to mutilations, and other worst atrocities. We as Americans, are in a unique position, that we feel, our ways, our cultural mores are the right and only way to be. Yet, in America, women are still held in discrimination and overly blatantly sexualized, sterotyped, and socialized into becoming anorexic's. We portray ourselves as dancers who reflect the cultures and styles of the Middle East in our dance; yet in the Middle East, all the countries are Islamic and have very strict rules for females. Egypt, one of the most moderate, you will still see many woman wearing the head covering. It would be racist to comment that we hate their culture or their dance due to their religious beliefs. This is what you are exactly saying in your opposing letters. All he said, was that they do not allow their bodies to be shown; just as in Egypt past, dancers also had to wear body stockings so their navels would be covered; everyone here adopted that style. What is the difference?

In many other cultures a woman on her moon (menstrual cycle), has many restrictions placed on her during this time by the tribes etc. to be separated from the men. Should we also call these indigenous cultures, backwards, disgusting, and worthless. Try to see with new respect, that though you may not agree with a person's cultural identites belief systems; please do not condemn because you do not understand. This is another form of xenophobia....listen respectfully, hold your own opinions and do not participate in their cultural ways, or performances if it offends your sensibilities. These last two letters were very hateful in their judgement.
Sierra
Mill Valley

6-6-09 re: letter below from NRADO
Well, Surreyya Hada took the words right out of my mouth! Cultures that subjugate women and consider them in some way "unclean" and then scream about stereotyping need to take a closer look at themselves.

It is horrifying that pogroms and racial segregation against Romani peoples continue to this day in certain European countries. It is just as horrifying that women are stoned, beaten, covered up, mutilated, killed in the name of "honor" and denied their legal rights in many parts of the world.

The misconception that they are inferior to men is at the root of this treatment. Perhaps Ms Bamberger should take some time to educate her own people.

6-4-09 re: letter below from NRADO
Dear Lynette - thank you for posting your recent letter from NRADO. I would like to examine this statement that Dani makes:

I would really like Dani to revisit the statement made, especially with context to "women are considered unclean from the waist down". If NRADO is starting a mission of political correctness with regard to how they are being represented in popular culture, then perhaps they should look at their own statements and consider how they might offend women. I don't think ANY woman of ANY culture would like to be considered "unclean" from the waist down - perhaps further explanation is in order. I am an American-born woman of mixed heritage (and married to a Serbian/Romani I might add). I am quite proud of my hips and my hygene, my equal rights, and my freedom of speech, etc. I would encourage anyone who doesn't understand what I am referring to here to google Romani + Women + Unclean.

Regardless of my heritage, this has certainly set me several steps back in wanting anything to do with helping further their cause. We struggle enough with women's rights and attitudes in this community. If they don't want to be misrepresented, then neither do I.

I support NO ONE that would believe a statement like that. Respect women's rights if you want to fly your flag around.

6-4-09 re: letter below from NRADO
Lynette:
I went to this organization's first public forum. They work very hard and have opened themselves up to non Romani people, in the main forum to educate, and stop stereotyping of their varied tribes, cultures, etc. I learned a lot and some of that was expressed in the article I wrote on Gilded Serpent, "Nomads of the Spirit". As I said in my article, just as in indigenous cultures of North and South America, who are actually horrified and sickened by the cultural fake assimulation made by the conquering non-indigenious people, it is wrong. The name Gypsy was used to depict them as a negative connetation, it is not their name for themselves. Fantasy is fine, as long as one does not cross the boundries of cultural appropriation. Such as using Egyptian terms or dances that are made up fantasies and called "North African dance", "Ghawazee dance"; when it has no correlation to those ethnic regional dances, styles or culture, music or style of dress....which has occured over and over again.

This is a positive group, who puts on a seminar and festival every year and is inclusive in inviting all, so that people can begin to understand the true cultural and proud people, that are the Rom.

I would not find it offensive from them that they dislike people in our dance culture using the name Gypsy and then dancing something they picked up as a mix of Turkish styling, etc. Yes, they should be able to classify whether a teacher or performer actually is performing real Romani dance, from what area, what region, and the authenticity. This is an alive culture; not a dead one that is being reinvented by others for our burgening Americanized models of titillation such as the form taken regarding American Indian lifestyle as depicted in the many Wild Bill Cody West shows that captivated American audiences with their supposed "real enactements of the regal indian savage". Can you see, the connection and how it continues to destroy and perpetrate lies, stereotypes, and license to bastardize what ever anyone wants to in the name of art. And with that minimalize the horrible diaspera, genocide and brutality that has occured towards these particular groups of people and their true identities as unique indigenous people, no matter where they roots may have begun. In Flamenco dance they are referred to as the Gitanos, and yet I found at this symposium, that again, it is another's name and definition for them, not theire own name.

Perhaps I ramble. I agree with them....it would be nice to share my article with them and see how it comes across to them. They, remember, are the experts. For they are, The People. Even if Edwina, and Pepper write about the Ghawazee in depth and I write about the Romani plight in depth.....we are not representatives from that tradition and if someone from those traditions want's to evaluate what is written about them or writes about their culture...that is the better source. Your magazine prides itself, I feel, on exposing the heart and soul of either a review or a research piece. We can not allow ourselves as dancers in this broad field to continue to take another's true cultural dance and cultural roots and parade in fanciful costumes to amuse our own ignorance, and need to have what we want, regardless of the actuallity of what is being presented. American impudence, disregard and appropriation at it's finest.

PS-These people are wonderful to work with.....They were generally gracious to me, and explaining their varied worlds, clans, and them allowing everyone to dance together, at the end of the formal panel, all got up to join in with their music and a circle, and everyone was accepted to dance. They are not exclusive....they just want to stop the inherent misrepresentation of their long soul journey and complexity.

6-3-09 re: ? GS has over 200 articles that include the word "Gypsy." Please use our search boxes to find them [Warning LONG letter but very interesting!]
Recently, I was forward your link through our website www.NRADO. com which is for the National Romani Anti Discrimination Organization. NRADO is run by a group of Romani Activists and Educators who monitor the media, web and publications for misinformation about our people.

First, I want to explain a little about our group and what we do. An ongoing battle we fight on a daily basis, is the false image brought on by stereotypes about our culture. Some people classify us as a category developed by Disney or Hollywood. Then there are those who know we are a real minority, but who portray us falsely due to misinformation that we know isn't intentional. Then of course there are those who intentionally use this image to make money or draw attention to their product or cause. We don't try not to make judgments on any one's intentions anymore because it is irrelevant. The end result of whatever the intention is damaging, and it is our goal to just try and stop it by confronting the source and offering to educate.

It is nice that you choose to post information about the Romani culture. However, a lot of the information you have is not accurate. Interestingly enough, one of your articles made some good points:

It is interesting you posted this quote because what you are doing and saying on this website is doing just this. Misrepresenting someones culture. The costumes you wear, implying the sexual nature and suggestive dance is against what our culture is. Women in our culture don't show their legs or bellies, they don't dance provocatively. I believe this article also pointed out that most don't like the "real Gypsy" image so they choose to stick with the fantasy. That is true, because the reality is that women are considered unclean from the waist down and it would be disgraceful for a Gypsy woman to dance the way you imply that we do. Often the reason we get misrepresented is because the truth is far from the fantasy.

I also want to point out, your article "Gypsy…Un, Deux, Trois A Review on the "Journey Along The Gypsy Trail" Workshop with Hadia, Jalilah Zamora, and Amrita Choudhury" you refer to Gypsies several times. It is disrespectful and inaccurate to not capitalize the "G" first of all. Second, the reference that this was a "real" Gypsy workshop again, not accurate. Although you have an instructor from India, where the Gypsies originated, this is still not representative of our culture. I don't want to criticize but it is very common for people to feel that posting our history on their website makes it ok somehow. Many site have letters to the "REAL ROM" about how they respect us and honor our culture but yet perpetuate all the hurtful stereotypes anyway.

We ask all dance troupes to please reconsider using the term GYPSY in their names or descriptions unless they are actually performing our dances. And we would also like to ask, that in the future when referring to us in anyway,whether you are consulting with someone who claims to be Romani or are going to post information about our culture, please consider going through NRADO or RADOC to verify information or the credentials of whoever you are dealing with. There are many frauds and misinformed people out there, selling their services or marketing themselves as Gypsy when in fact they are not. You can send messages to any of us at anytime and we would be happy to look into it for you.

Our culture is complex, and there are few people who really know about us, we spend a majority of the time re-educating. Our task is a grueling one and we are far from where we need to be in society. Our people are fighting for their lives in some countries and it is our duty to try and change the perception people have about us, and become a voice for justice when such a voice did not exist before. In order for us to succeed we need to make sure that we are portrayed in an accurate light. All we can do is share our message and send out requests to people and hope they respect our concerns. Sadly, only about 30% of who we contact, even respond much less comply. We hope you choose to support our efforts.

If you have any questions or concerns, feel free to contact me. I appreciate your time and consideration in this matter.

Naist Tuke (thank you)
Dani Bamberger - romanigypsy@gmail.com
www.nrado.com

[Ed note- the above letter was forwarded to a few of our advisors and we received a couple of responses okayed to post]

6-3-09 re: letter above regarding use of the word "Gypsy"
Interesting also, how this is a parallel discussion in the Bellydance community about "what is Bellydance", Mid East Dance. Fusion etc. and who is representing correctly etc. as well. This movement contacted me many years ago with similar info because I hosted a monthly open dtage for 6 years and Gypsy dances were advertised (not by Arabesque). Soon after a family of bonified Rom performers performed on our Open Stage...was awesome.

6-3-09 re: letter above regarding use of the word "Gypsy"
You can print this next from me:

1. Rom/ Roma is the preferred & correct general term, but there are also Sinti, Manoush & Luri.

2. What they say is TOTALLY correct, however, in certain countries/ cultures, we DO wear costumes/ do Oryantal dance (Turkey) & *are* Ghawazi (Sinti) because, like Afro-Ameicans here until very recently, Show Biz was one of the very few professions open to Roma/ Sinti/ Manoush/ Luri & those are the "working clothes". In Egypt, the rise in fundamentalism has virtually ended the dance careers of Ghazi women....

I suggest you publish their letter prominently, so that the fantasy-purveyors who have refused to listen to people like ME (whose family went out of their way to "pass" & still refuse to speak to me for "outing" us!) & Artemis & Sonia Seeman & others who care & bother to teach the truth maybe finally begin to understand what they are doing.

However, I don't agree with "vetting" everything with ANY organization - that is censorship & personally, I prefer that we let the fantasists "out" themselves, so we know who they are & can gently lead them back to the path ... by printing articles about the REAL folks & the REAL thing.

Golden Palace: please ask Dani on behalf of this Romnipen, if I can quote the heart of that letter in the Folk/ Roma section of MY forthcoming book (giving the website, of course!)???

4-20-09 re: Nile Dances, Part 3: Meleya by Gamila El Masri
While the article is well-written & fun & has a lot of valid information, what was left out is that the Milaya Leff DANCE was *invented* by Mahmoud Reda - there was NEVER any such dance IN Alexandria (except on stage, when the wonderful Reda company performed there...), so saying it's one of the "Alexandrian dances" is not true.

It was supposed to be a young, lower middle-class, neighborhood girl from Alexandria, a little rough around the edges, but a good girl nonetheless. Kind of like LaVerne & Shirley (any one out there remember them?).

The costume "dress" was, again, an invention of Mahmoud Reda's designer (possibly Farida Fahmy) - nobody would wear a dress like that on the street - especially with that great openweave "yeshmak" or face veil. There was NEVER a burkha like that worn anywhere in real life - too revealing ...

The milaya & how it was worn, however ARE real, but a good girl would never open in up on the street & toss it around the way it's done in the dance ... but we have artistic license & all that ...Gamila does a fab Milaya Leff dance & that's why I asked her to do it in my concert (first video clip) ...

4-19-09 re:April SnakeByte Email Announcment
Hi Lynette! I met you in Toronto for the first IBCC. I just wanted to remind you that I love what you do on gilded serpent. Keep up the good work.
Linda
Nashville, TN

4-19-09 re: April SnakeByte Email Announcment
Wow! I just skimmed through the articles (see my friend C. Barros has written another fine article) and can hardly wait to read them all/ great variety/intriguing. I love Gilded Serpent.
Hugzzzz from
Meleea
Rockwall, TX

4-10-09 re: A Quest for Beauty by Zorba
a sincere quest and outcome! I have had the honor of this dancer in 2 of my workshops, what an awesome human being , straight from the heart and soul! ! a true friend, his dance is just a bonus.

4-1-09 So, If You Cut up a Rose, is it still a Flower? by Rebecca Firestone
I had a chance to read “So, If You Cut up a Rose, is it still a Flower?” which brought up some great points about how “Middle Eastern dance” “belly dance” and “fusion” are currently defined. I enjoy watching fusion, though I came from a genre of 1990’s dancers that were influenced by the great Egyptian influence in that decade. In seeing all these changes, something changed in me (well I aged a bit too – lol). I had my time in my genre, had a modicum of success and accolades, and recently decided to hang up my “zils,” “bedlah,” what-have-you. I have enjoyed most of my time in belly dance and will be interested to see how the dance progresses. Thanks to Gilded Serpent for keeping us all updated and informed with these articles.
Love and best of luck to the community,
Amanda “Ireena” Volovik,
Reno, Nevada

3-16-09 re:Quality vs. Quantity, Buying CDs vs. Downloading Music by Mher Panossian and Sherri Wheatley
I hope everyone reads and truly considers Mher Panossian and Sherri Wheatley's article "Quality vs Quantity". The issues that it raises are especially important in the current downturn in the economy. I want to extend my thanks and appreciation to Mher and Sherri for giving us the best reasons for purchasing CDs in preference over MP3 downloads and for pointing out that there are issues of sound quality and ease of use and even more importantly issues of ethics in respecting the music makers' right to be paid for their work.

Speaking as the producer of the CD, "Golden Days, Enchanting NIghts", I can say that producing a CD can require an initial outlay of a LOT of money which the producer expects to recuperate through sales. If people acquire the music from my CD without paying for it, then I will be far less likely to ever recover the cost of producing it. If I can't make a profit on the CD, never mind just breaking even, I will not be able to produce another CD. Even a business as big as Hollywood Music Center (Mher's business) can't go on forever if people continue to acquire the music without paying for it.

3-16-09 re: letters below re: Making (and Re-making) Choreography: Moving Forward, Moving Backward, Moving! by Cera
I read Cera's article and the negative comments about it from the other readers, and I'm wondering what the big deal is about having a general dance article in this magazine. No it was not about bellydance specifically, but it was about choreography and the creative process. Those are things that do apply to bellydance as much as any other dance form. Although Cera is primarily a fusion dancer, I've seen her perform bellydance several times and I know she loves and respects that style. And I believe her thoughts are worth reading.
Thank you, Lynette for running a very inclusive site.
Erica Datura,
Sacramento CA

3-15-09 re: letters below re: Making (and Re-making) Choreography: Moving Forward, Moving Backward, Moving! by Cera
Dear Letter to the Editor,
From what I have read in regards to Cera’s article it sounds as if people are saying that the article would have been accepted if the video had not been included. For heaven sakes! This is an article about choreography. Is no one allowed to submit an article on dance unless they take some kind of prerequisite test to see what degree of Middle Eastern dance background they have? And at what point will they be accepted into the "Members Only Club"? Does 75% get you in or do you have to be at least 99% pure. If performers of Middle Eastern dance are to be accepted in the larger dance community; i.e. Modern, Ballet, Jazz etc, we need to stop acting like a pre-teen clique and start looking at what we have in common, such as the choreography process which this article was about.
Peace,
TerriAnne Gutierrez
San Francisco Bay Area

3-14-09 re: letters below re: Making (and Re-making) Choreography: Moving Forward, Moving Backward, Moving! by Cera
Dear Editor:
In total agreement with previous letters from Amina Goodyear and Barbara Grant - Since when does wearing a costume with a bared midriff suddenly equate one's performance with "Middle Eastern Dance?" In my opinion, there is absolutely nothing "Middle Eastern" about the performance (available through youtube.com link) in this article.
Debora Crockett Bolen
Fresno, CA

Thank you, so much, to the two readers who wrote in regarding my article on Choreography.
The concerns you raised about GS's mission statements were the same concerns I raised to Lynette when shen asked me to share an article. I do not consider myself a Middle Eastern performer or Choreographer - while I am a *student* of Middle Eastern dance, that is not where I make my home on the stage, and I'm quite clear about that. There are a couple of issues, however, that your letters raise for me. They are:

While GS is a journal (so it states) of ME Dance & Music, there is a lot that ME Dancers and Musicians can learn from artists and scholars working in other genre's. As an editor, Lynette seems to be working to bring her readership an increasingly diverse base of perspective and information. My article was not about Middle Eastern Dance, per se, it was about CHOREOGRAPHY, which is used across the board for companies and solo artists working in many genre's. Before jumping to defend the sanctity of GS's mission statement, how much consideration was given to WHY Lynette, your trusted editor, chose to invite me to contribute, and then chose to publish my article? Could it be that she see's some value in what I shared that could be applied by ME dance/music artists? If so, where is the support and gratitude of the readership for an editor who is thinking outside the box, and pulling from outside of her niche to get perspectives that may be valuable and applicable to her readers' work?

And that brings me to my second point, that of reciprocity. I am a student of Middle Eastern dance and music. While I am primarily a fusion choreographer, there are dancers of Middle Eastern origin and training in my troupe. I am constantly informed and inspired by them, as, I hope, they are constantly informed and inspired by the training that I bring to them from non-ME genre's. It is through our reciprical respect and sharing that we are able to develop work that we are very proud of, and deepen our training and understanding in our own genre's of study. Though my choreography may not be your particular cup of tea, it saddens me to hear that there is so little information of value in my article, and in my work, for you, that your biggest focus was whether or not it should be here. I have learned so much from traditional Middle Eastern dance and music, and the teachers and artists who have shared it with me. It makes me very sad to feel that because the work I choose to create is more contemporary fusion than traditional ME, traditional artists are not interested in hearing my perspective.

A very wise friend of mine once likened all arts and practices to little wells. You can dip in to any one well, a little bit of middle eastern, a little bit of fusion, a little bit of writing, a little bit of martial arts - but when you go deep enough into any one well, you find that underneath, they are all drawing from the same common source. Some people call that source God, others Love, others Inspiration, others Energy. It is underneath the trappings of style, and from that common source, that I was hoping to share with you. Deep down, all dance is dance, all choreography is choreography, and there is so much that can be learned by broadening ones scope and perspective.

We have so much we can learn from each other, traditional artists and fusion artists. And while we're both doing okay on our own, I believe that when we take a moment to stop reminding one another of all of the things we don't have in common, and start looking at all of the things we DO, we will see dramatic improvements in the quality of work produced by both sides.
I'm certainly looking forward to that day.

Your friend in dance,
Cera & DCDT
San Francisco, CA

Dear Lynette:
For several years, I was a member of a Tucson-based Middle Eastern dance organization whose stated mission was to educate the public about Middle Eastern culture through its dance arts. At the time, I enjoyed performing routines that included the music of rock groups such as Strawberry Alarm Clock and country-western singers such as Faith Hill in the same routine as songs made popular by Om Kalthoum. I changed my performance choices in our organization’s venues when politely reminded that the group’s mission focused on educating the public about the culture and art of the Middle East.

Therefore, I agree with the concerns expressed by Amina in her recent letter. GS is either focused on Middle Eastern music, dance, and belly dance, or it is not. If not, might I expect coverage if I dance any way I please (in an Oriental costume) to Ritchie Valens, the Monkees, and Frank Zappa?

Please tell me what this article and video have to do with Middle Eastern Music, Dance and Belly Dance. I thought gildedserpent.com was a Journal of Record for Middle Eastern Music, Dance, and Belly Dance. This article is about a dancer who does not do Middle Eastern Middle Eastern Music, Dance or Belly Dance. And her video is proof.

This is a dancer who should be featured in a modern dance or alternative dance forum NOT in a Journal of Record for Middle Eastern Music, Dance, and Belly Dance.
Are you changing your mission statement or are you just hard up for articles?

Amina Goodyear of The Aswan Dancers -
a San Francisco troupe dedicated to entertaining and educating the public about Middle Eastern Culture through music and dance.
San Francisco, California USA

3-7-09 re: Ask Yasmina #4
I am a little confused by Yasmina's response to the question regarding dancers asked to pay for the workshop registration in order to be in a "Guest Teacher Gala". I'm not familiar with that particular term, but I am concluding the reference is in relation to the evening show that often accompanies a workshop, featuring the workshop teachers.

Yasmina says, "I have taught at some events where I found out after that this was their rule of thumb, and it made me very uneasy to think that some people were attending my class so they could get on stage, not because they wanted to learn something."

In our area, at least, the reason for the workshop requirement has to do with bolstering the feeling of the dance community. First we all learn from the teacher; then those of us with enough talent and skill dance for everybody. In this case the emphasis is not on selling lots of tickets (though the show is frequently sold out). Nor is the emphasis on letting everybody who wants to perform do so. If a performer hears about a show, contacts the producer, and requests to appear, then the performer should either agree to the same conditions as the other performers or withdraw. I think making special exceptions for people who are "owed favors" would foster bad feeling in the community. If it's the producer contacting the performers -- that's something else. If I were desperate to find dancers to fill out my roster, then it would be silly of me to invite people and then ask them to pay for the privilege of helping me out.

In regard to Yasmina's reaction, I don't think she has to worry. Someone desiring to get on stage without dealing with the workshop is much more likely to pay for the workshop... show up late... and then spend her time shopping the vending tables. I doubt that very many people in a dance workshop really don't want to be there.

Thanks for running the Ask Yasmina series. I find the articles very interesting.

Vashti
Madison, WI

2-27-09 Badia Masabny, Star Maker of Cairo by Jalilah
I just found this article and I had to write. <smile>
What a delight this was. Entertaining, well-written, and so informative, I'm sure I learned several new things about this fascinating woman. Also, I was thrilled to see the advertisement for the nightclub! How exciting to be able to actually see something that so profoundly affected the evolution of this dance.

" . . . . I have to deliver on stage what I believe (and can see with my own eyes) will work to a broad audience as well as pure bellydance aficionados and I choose on that basis. It is not my place to force an audience to like something because it is "historically accurate" or try to be "educational."

I would love to see the Superstars' shows begin with a fast-moving, 10-minute production number featuring a historical dance montage of several different styles, types of music and costumes that have been part of the history of ME dance (some group/folkloric, some solo). One style on stage at a time, to give at least a brief nod to each and give the audience a chance to focus and become intrigued, but not long enough that they would become bored. Maybe just a tad educational (oops!), but in a very exciting, non-stop fashion that heightens anticipation and arouses curiosity, ending of course with darkened stage as the last performer(s) exit(s) and the real show begins.

Of course not everything can be presented in this short amount of time, but that's a bonus in that it would allow for variety from show-to-show. It could be a tasteful and respectful, intriguing addition to further the audience's appreciation for the BDSS (and ME dance/music in general), while providing an another reason to discuss the show after they have left the theater.

Debora Crockett Bolen
Fresno, CA

2-19-09 Response to letter below re: BDSS UpdateNew Choreographers Contribute to 2009 Show by Miles Copeland

I also felt a little miffed when I read Miles Copland's statement that seemed to diss the "folkloric roots of bellydance" (never mind that I can't stand the term"bellydance" as being totally inaccurate, American in origin, and even buffoonish way to describe Oriental Dance). I know he thinks the bare-midriffed glammed up Hollywood young thin chickies are what pleases the crowd, and to a point, I can understand that approach - I don't enjoy seeing fat rolls and stretch marks presented on stage either. However, there is no reason that the "folkloric forms" of Oriental dance could or should not be presented in that sort of venue. The troupe I'm Co-Director of has as its base Egyptian style Orientale. However our claim to fame is performing the folkloric dances from the Maghreb thru Egypt, the Gulf States, the Levant, the Middle East, and even Central Asia.
These dances obviously have to be "stage-a-ma-fied" and choreographed to make them interesting to perform and to watch, you can't do the same 3 steps over and over in a circle. But they can and should, be very entertaining if done correctly. So having a dabka as part of the selections is a good start. Next time, add some Tunisian or Moroccan, or Ghawazi or Persian. Educate as well as entertain!!

Pauline Costianes
Troupe Ta'amullat
Ann Arbor, MI

2-19-09 Response to letter below re: BDSS UpdateNew Choreographers Contribute to 2009 Show by Miles Copeland

My name is Rachel . I just want to say that I enjoy the Belly dance Superstars DVD's I have purchased and watched along with a few of my friends DVD's. We belong to a troupe called Jewels of the Desert in Yuma , AZ. Shirley Thompson is our troupe leader. She has taught us well, and we also take workshops and classes with Dahlena who lives here in Yuma. Aren't we lucky? And another professional belly dancer, Esther El Yebb, who has been dancing for 27 yrs. with training in the Academy in Morroco. Between all these teachers we know we will never be as good as they but we know we are getting quality. So, my point is we appreciate belly dance from all sources and especially our other idols from Belly dance superstars. I know they perform close to our city, in Phoenix, AZ . And they are performing today in Phoenix. I am not there because my husband had a stroke last year, very severe. He can walk but is prone to seizures and we are still working on therapy. He is adamant about me continuing my belly dance. It has been MY "therapy" . Getting me thru his stroke . I am glad that I found this beautiful art form in 2001 and have had a love and passion for the dance. I would hope that one day Yuma, Az. could host a Belly dancers Superstars performance . I know there would be an excited crowd here. The best time would be when we have an extra 100,000 people here in the winter. We call them our snowbirds but they are more energetic than any geriatric group I have seen ever.

If there is any chance the beautiful talented women of the Superstars would ever come to Yuma it would be a dream come true. We did have "Jim Boz" here last year in October, 2008. We are hoping he will be back soon.

So, this appreciation letter is heartfelt and hope you will understand.

Respectfully yours,
Rachel Trabue
Yuma , AZ

2-17-09 Badia Masabny, Star Maker of Cairo by Jalilah

Thank you so much Jalilah for the articulate and wonderful article of Badia Masabny's life and especially thank you for the footage of her performance. This was such a treat to find. We are so lucky to have people like you who care about this important and inspiring knowledge.

Sincerely,
Yasmina Ramzy
Toronto, Ontario

2-9-09 response to letter below re: BDSS UpdateNew Choreographers Contribute to 2009 Show by Miles Copeland
I will admit that I so have a heap of prejudices when it comes to art but you can also call it my individual taste. This was true in music as it now is in dance. However I am always open to be proved wrong if I can see it. When I saw what Stephanie Sullivan did with the folkloric approach I was impressed as it was what I needed, ie impressive. So it is now going to be a major piece in the show. It is interesting to note that the connection of bellydance to folkloric is not obvious to the viewer and I am sure it could be argued by people more historically knowledgeable than me that bellydance or Raqs Sharky is NOT a folkloric dance. I suppose this would be true partly or largely because it is a solo dance and not a group dance. Folk dances almost by definition are universally group dances, That is certainly what the Egyptian Ministry of Culture believes is the case. They do NOT want bellydance included as an Egyptian folkloric dance and I was told this to my face by the then Minister of Culture of Egypt. Meanwhile the writer is absolutely correct when accusing me of prejudice. For me it is quite simple, I have to deliver on stage what I believe (and can see with my own eyes) will work to a broad audience as well as pure bellydance aficionados and I choose on that basis. It is not my place to force an audience to like something because it is "historically accurate" or try to be "educational". If "glitz", a "Hollywood" approach and professionalism can win the crowd and convert more to appreciating bellydance, the music etc there will be a portion who will want to know more and go to dig deeper into the origins of these arts. That is a good thing.

I might also add that the BDSS performances in the Arab world were a huge success and we are negotiating more shows in the region precisely because they like our take on the dance and the respect we bring to Arab arts as a by product of our worldwide touring. I am surprised that anyone would, in 2009, after 600 shows in 20 countries suggest that mainstream success has been elusive to the BDSS as we now perform in the same theatres as the ballet, Riverdance etc on a regular basis, are represented by the top performing arts agency in the US as well as the top promoters around the world. This year will see the "Live in Paris" show on many of the PBS stations across the country and the documentary "American Bellydancer" is aired regularly on the Documentary Channel. This has taken time to achieve as we faced so much prejudice and preconceived ideas from the marketplace that we had to overcome. I am glad to say that perseverance and dedication from the BDSS dancers and the great support from the Bellydance community has made this possible.

2-8-09 re: BDSS UpdateNew Choreographers Contribute to 2009 Show by Miles Copeland
Normally, I try to avoid commenting on BDSS and their impact on the larger Middle Eastern Dance community, but I must confess that the statement Gilded Serpent chose to highlight from Mr. Copeland's recent article is one of the saddest things I have ever read:

I know what Mr. Copeland meant here, and he meant it to sound open minded, but it appears to demonstrate a deep undercurrent of prejudice against the historical and ethnic roots of this art form. How can you have any respect for this dance when you treat its origins like your embarrassing, immigrant grandmother who speaks in fractured English and tenaciously clings to old-country customs?

I understand that the folkloric roots of "belly dance" are not always interesting to present on stage. These dances are meant to be danced, not watched, but that does not mean that you cannot present aspects of them in a way that audiences can enjoy. Perhaps one of the reasons that mainstream success has proved so elusive for BDSS is that by sanitizing Middle Eastern culture and repackaging it as the-latest-craze, Hollywood razzle-dazzle, audiences are being deprived of something intangible, something universal--how the every-man human heart responds to music.

1-19-09 re: Interview with John Bilezikjian by Artemis Mourat
Mike Fair -Faraz

Thank you for that great article and interview with John Bilezikjian.
I am a percussionist of Middle Eastern drums. I live in the S.F. Bay area.
I had the pleasure of sitting in for John's absent drummer at the Desert Dance Festival in San Jose, Ca. a few years back and it was the most exhilarating experience as a percussionists that I have had and probably ever will have playing with anybody. John's playing is so strong and directive that I didn't have to think about what or how to play. He plays the rhythm as well as the melody so I always knew what to play. I was so taken by the power and fluidity of his music.
It's hard to believe that such a talent would allow one totally unknown to him to play with him.
That's part of what you were talking about when you spoke of the "Old World Charm".
he is a true gentleman and genius.
Thanks for the memory John.

Once new ideas on dance had gained momentum (following Ballets Russes, Stravinksy and all that "Sacre du Printemps" stuff) that movement broke from ballet and took its own new course. It didn't think of or call itself "new ballet" or "ballet fusion" and the dancers didn't perform at ballet concerts. The dancers didn't think of themselves as the next step in "evolution of ballet", it was MODERN + DANCE = a whole new approach to thinking about, executing and performing dance; non-aristocratic European, thoroughly experimental, aggressive sometimes, maybe even regressive. Modern dance has cozied back up to ballet a bit in the decades since, so maybe the outsider perception is that it never left the ballet fold. But it did - big time.

And I don't buy into the argument that this sort of Experimental / Hip-hop / Goth / Burning Man / Industrial / etc./ Blood Spewing / In-Any-Event non-Middle Eastern turn of events is "the evolution of belly dance". It IS an "evolution" in dance and it's super kewl that we may be witnessing the birth of a new dance form. But for pity's sake it's moved so far from its origin, surely those involved can see that it needs a new home.

PS. I have nothing against innovation, any dance style or the fact that GS covers such events.
PPS. In my younger days as a modern dance choreographer I used fake blood in more than one of my pieces. :-D Just so everyone understands that it's not that I "just don't get it".cheers,
Shahrahzad
Canada

1-10-09 re: letter below re:Coverage of Fusion Contest on Community Kaleidoscope
Hi Lynette,

I want to comment on TerriAnne's statement that Gilded Serpent isn't dedicated to "pure" forms of belly dance. Of course not, because there is no such thing as a "pure" dance art form! Dance evolves over time being influenced by other cultures but note I am saying "influenced", not dance forms that depart so far from any Middle Eastern elements that is isn't recognizable!

When I attended the "Lucy of Cairo" weekend of Oriental Dance workshops sponsored by Little Egypt in 2006, there was a very lively question & answer session. One of the questions posed to Lucy by attendees was: "Is it okay to bring other dance forms, even Western, into Oriental Dance?" Lucy's response: "Yes, of course, and dancers in Egypt have done that for decades with Latin and ballet, and it's fine as long as the dance is still PRIMARILY ORIENTAL. And you can break the rules if you know what you are doing and orientalize the steps you are including". There you have it, folks, straight from a megastar of Egyptian Oriental Dance with decades of experience and still performing every night in her club, La Parisienne in Cairo.

The problem with the "Fusion Contest" type events is that any "roots" they may claim to any style of belly dance are so obscure as to be negligible. Okay, they wore midriff baring costumes and use hip moves, but this is true of hula and Tahitian ethnic dance forms. And, I fail to see how an event featuring a dancer sitting on stage spitting fake (I hope) blood constitutes "participation in the Middle Eastern Dance community." Please, let's get real here, we are not talking about fusion with belly dance, we are talking about alternative dance art - fine in its own right and genre, but not part of the MED environment.

If anyone doubts this, just ask any Middle Eastern person, dancer or musician for their opinion after they view coverage of the "Fusion Contest". I'm betting my best bedlah they will agree with Lucy of Cairo.

Yours again in dance (belly)
Nisima
Pacifica

1-9-09 re: letter below re:Coverage of Fusion Contest on Community Kaleidoscope
Dear Editor,
I wonder if readers of the Gilded Serpent might take a moment to read its Mission Statement. After reading it myself I never saw anything that implied that this was an online magazine to promote only the purest form of Middle Eastern dance. I quote,

I see documenting the emergence of a new dance form that has its roots in Middle Eastern dance, completely worth adding to this journal of record. This is no less exciting (or horrifying) then when modern dance began to evolve from ballet in the early 1900’s. Read this quote from a website on the history of modern dance and substitute the word “traditional belly dance” for ballet and “fusion dancers” for Modern dancers.

Now I just read, “and” the rich culture of the Middle East, I didn't see anything that said as long as it only pertains to the rich culture of the Middle East. I would assume that the part about “encouraging the tolerance and inclusion of all elements in our community who wish to participate”, would explain the reason Lynette is covering these events. People from the “fusion” community have embraced the Gilded Serpent, so why should she not embrace them back. They clearly “wish to participate”.

Until someone convinces the Gilded Serpent to rewrite it’s Mission Statement, it seems to me, that they have an obligation to continue to give coverage to these events.

1-7-09 re: letter below re:Coverage of Fusion Contest on Community Kaleidoscope
Lynette,
I second Amina's opinion about Gilded Serpent's coverage of this event and coming from me that 's a huge statement since I have spent years performing other styles of bellydance besides classic "Egyptian Oriental" (AmCab, Saidi, Ghawazee, Zambramora, Ouled Nail, Tunisian and yes, tribal!). It isn't the question of whether "fusion" is acceptable in bellydance, my point is that I too wonder why Gilded Serpent is covering a disproportionate amount of alternative dance events and articles. Even the general public isn't so stupid that they think these events are representative of the belly dance community today!

This much coverage will have the Gilded Serpent readership asking, "where have all the bellydancers gone......?" Well, we belly dancers of various styles are still here, and we are teaching, performing and educating the gp and newer dancers/students and our troupes that belly dance traditions are worth preserving and the culture deserves the same respect as any other ethnic dance art form.
Yours in dance (belly)
Nisima
Pacifica

1-6-09 re: Coverage of Fusion Contest on Community Kaleidoscope
Dear Gildedserpent,
You are OUT OF YOUR MIND to be covering events such as this. We Middle Eastern dancers have struggled too hard and too long to be recognized as a legitimate and traditional dance form. You are already TOO GENEROUS when you cover "tribal fusion" events that only hint of bellydance, but to give any amount of space to a contest that claims to NOT include Middle Eastern bellydance is stupid! What kind of a readership are you reaching out to?

1-5-09 re: Unveiled Musical Gems, 3 CD Reviews by Joette Sawall
Lynette,
after reading the review, of my "Raqs El Qamar" Bellydance routine CD, it is obvious that Joette never really bothered to take a real listen to it at all. While I understand and respect freedom of speach, and people`s opinions, it is only fair that what people like her put into print should at least be accurate. First of all, she states that when she "hears the Nay coming in on track ONE" What CD was she listening to? It surely wasn`t mine because track ONE does NOT open with a Nay... I am a bit insulted and a bit annoyed, because anyone, who would review my CD the way she has ,obviously never really took the time to really listen to it, and pay attention to it, with reference to it`s true worth and intention, ie: that is that it is a " BELLYDANCE ROUTINE CD", with the intention of providing any qualified bellydancer out there with complete 7,10, 15, 20 minute routines to be used at venues where a live band is unavailable, or virtually ANY venue, obviously something she just "doesn`t get" ... Secondly, my recordings were all pristine in hi def digital quality, and very clear, clean, recordings.. so where she mentions a muffled or unclear, distant far away sound, is beyond my comprehension and I am confused on that count as well, Any decent high quality playback equipment would have probably sounded better to her ears I`m sure, but how do we know what she uses. Thirdly, where she gets the idea that the music on there is anything close to being in the "Easy Listening " category, baffles me as well. I have had three other favorable reviews on the net about this same CD, and bellydance instructors all over the country have placed repeat orders with me over the past year due to the CDs practicality of use, I therefore challenge Joette`s definition of being practical..... I am at this point a bit confused about the validity of your posted review as it pertains to my production, and as evidenced by many repeat orders, and would seriously request that you remove your review since it is not an accurate description of my work, many points are invalid, and untrue by everyone elses opinion (those who bought and use it for what it was intended, as a 7, 10, 15, 20 minute bellydance routine CD product, with two bonus tracks consisting of two different 9/8(karsilama) tracks.... something you never mentioned, as well as never even mentioning that it is a Bellydance Routine CD, much like all the other reviews have mentioned. I know it`s only her opinion, however, I seriously challenge the validity of a number of her points, and her qualifications in making technical and musical judgments.

Hence,in the end, if her review, and MY response have any merit at all, together in their totality, it is because ,together they are a manifestation of the old saying, "Judge not lest ye be judged" I am at this point vindicated :-) Amen

1-3-09 re: 8th Annual Blood Moon Regale: Disease 101 Photos and text by Brad Dosland
...well, just when you thought it was safe to return for a good read on MIDDLE EASTERN DANCE AND CULTURE, this ugly under belly , (no pun) comes along. can't this back alley sub culture find its own voice ? venue ?
we used to include this site on a "welcome "flyer for new students.i guess that is still a "used to", just like this site "used to" be about the CULTURE of middle eastern dance .
whatever, maybe we will check back in another 8 months.
Cory Zamora
Fresno, calif.

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