My Foray into the Cabaret - Part 1

A strange thing happened in my dance career recently. The Nile cruise I'm contracted with now moonlights as a cabaret. It operates its regular tourism sails in the early evening, and then remains docked for the rest of the night as patrons from the Gulf come to do everything that's forbidden in their countries. They dance, drink, smoke, and pick up strange women, sometimes until ten in the morning. They check their 'harameters' at the door, and give their reputations the night off-- the cabaret is a no shame zone. It is one of the few places in the Muslim world where a person can let loose without fear of being judged.

I've never been comfortable dancing in this type of environment. Cabarets are dens of vice, and serve as outlets for large scale sexual repression. The potential for objectifying, if not compromising situations, is real. There is rarely any security at these places, which means that should something go wrong, a dancer's only recourse is a brave musician shoving himself between her and the offending customer. Her first line of defense is her singer, because he's already on stage with her. But sometimes it takes a few musicians to get the job done. They form a circle around the dancer, the way we imagine dolphins do when protecting humans from sharks, and pound their drums extra hard to ward off the offender(s). It's actually quite funny to watch, unless you're the dancer experiencing it. The fact that these people are paying for you to entertain them means you can't react the way you would if someone tried to grab your ass on the street. You can't scream or curse at them, and you definitely can't clobber them over the head. You have to somehow keep a smile on your face, pretend that you're oblivious to what's happening, and wait for your musicians to keep your ass from falling into some drunk patron's hands. At three in the morning. In the meantime, you hope the bastard will shower you with tips. Fives, twenties, hundreds, whatever. Egyptian pounds, riyals, dollars. This is how you keep your job. It's not that you're entitled to a percentage of the tips, but that the venue won't ask you to come back unless customers throw money at you.

My Foray into the Cabaret Part 2

The single most important person in this production is my singer. His voice, charisma, and knack for getting customers to throw money keep us in demand every night. More than my quivering belly. I attribute this to the fact that Arabic speakers are more auditorily oriented. It's probably because of the long-standing oral traditions of Arab and Muslim societies, and because of the hangups some Muslim societies have had over visual representation. Add to that a sprinkling of disdain for the uncovered female figure, and you have an audience that is much more receptive to a male singer than a belly dancer. This is why he makes the big bucks. He's not just a singer. He's an emcee, a server, my body guard, a psychologist, and a smooth talker all rolled into one. His job is to 'read' the sala during the performance before ours to learn where the customers are from, and to observe their tipping habits. Then he compiles a mental playlist of songs to which they're most likely to respond. During the show, he waits tables, taking requests for songs and shout outs, and warming up to the customers with friendly greetings and banter. This takes a lot of energy and experience, and an excellent memory; a successful cabaret singer must have hundreds of songs from all over the Arab world memorized, as he might perform for the same customers for weeks on end. Khaligi and mawwals are very important, the latter more so because it's when the most tips are thrown.

Mawwals are real money makers. Especially the ones that are spoken more than sung. They have a story-telling feel that can transfix an entire audience, and they are always about issues to which everyone can relate. Misery, pain, betrayal, heartache... Just the other night, my singer sang something to the effect of: "Your best friend is your money. If you don't have it, people step all over you. But when you have it, everyone greets you with hugs and kisses.' It was much longer than that, and it sounds better in Arabic. But the diction and passion with which he delivered this mawwal made everyone stop what they were doing. Myself included. For the two minutes that this lasted, people were nodding in agreement. Some had smirks of admiration for my singer's ingenuity; nearly all threw money on him when he finished. I remember being amazed not only by his skill, but by the power he held over us. It was as though he transformed the sala into a kindergarten classroom during story telling, or better yet, into a church, with an enthusiastic congregation lapping up the preacher's every word.

My Foray into the Cabaret - Part 3

The biggest factor in my ability to loosen up was my singer. With him in the driver's seat, I was able to relax knowing that if anything went wrong, he would be the one in the line of fire. Half of my musicians could show up mid-gig, or they could be killing each other behind me, and I could just let them carry on, because for this one hour that we're together, it's not my circus. I've learned to thrive in this informal performing environment because it frees me to do more important things. Like shaking hands with customers as they take their seats, making small talk, goofing around with the riklam, and being downright silly. Basically, I get to indulge my inner teenager. Speaking of which, I even have a crush. On my singer. You've probably figured that out by now.

Wael is the definition of fine. He's tall, dark, handsome, has excellent stage presence, and he serenades me on stage. He also smells like laundry detergent. I think the regulars-- the riklam, the staff, and the musicians-- have noticed our chemistry. They stare at us every time he comes near me and we slip into an impromptu duet. He sings to me, and I wiggle about in approval with a huge smile and batting eyelashes. Kind of like Farid El-Atrash and Samia Gamal... not that I'm comparing ourselves to them artistically. We do have a similar on-stage chemistry, though. And we quite like it, even though it annoys the band. When things get too scandalous for their prudish sensibilities, my percussionists express their collective disapproval by interrupting the prevailing rhythm with a doom, tak tak tak tak, doom tak tak!, the famous zaffa rhythm played at weddings when the bride and groom enter and exit the wedding hall. It's meant to be sarcastic, and to embarrass us. Neither of us care, though. We have no blood, as the Egyptians would say, referring to our apparent inability to feel ashamed.

A Half Hour in Hell

The irony of a bright red sun setting so serenely as all hell breaks loose underground. People clamor for their lives, but the sun doesn't care. It sinks into the Nile with a nonchalance that budges for nothing and no one. 

I happened to be in the Attaba metro station this evening, on my way to work from a modeling shoot when the escalators gave out. Thankfully I was not on one of them. It was just my luck, as I decided that climbing six long flights of stairs was preferable to being sandwiched between a sea of men and teenage boys on the escalator. Good call, because then THIS happened. There was an electrical failure, and the four escalators going in both directions stopped abruptly. Some people fell as others were squished, and many were badly injured. Mass panic ensued. People were screaming and crying and jumping over each other to escape. Others were trying to capture the magnitude of the crowd with their camera phones-- there were already thousands of us without each arriving train replenishing the stock. 

Birth Control, Secularism, and the Belly Dance 'Revival'

In Egypt, belly dancers are hired for as many reasons as there are people. Some are hired for their looks. Others for their locks. Some are more affordable, while others confer status on those doing the hiring. And then there are dancers who are chosen for their personality, or because of their connections, or even their status. What we all have in common though, is that we are rarely sought out for our dancing. Even the best of us. Nevertheless, we all cultivate an audience-- a loyal set of fans that follow (and sometimes stalk) us around as we perform in hotels, weddings, and boats around the city. Amie Sultan, a newer, foreign-born Egyptian dancer and the subject of"Amie Sultan: Reviving the Art of Belly Dancing in Egypt", is no different. She, like the rest of us, has carved a niche for herself in the super competitive world of Egyptian belly dancing. No more, no less.

I'm stating the obvious here because somebody has to...because Amie makes a bold if dubious claim about her impact on the dance scene. She says: “Now I’m seeing belly dancers trying to become more elegant and trying to lose weight and, you know, tone it down a bit. People want something more refined, more studied. People want the art of it, not the tattooed eyebrows. I think because of me there’s less vulgarity.” While I'm no fan of tattooed eyebrows, I do believe that Amie is overstating her impact. Just a bit. It's not that Amie is changing the way dancers are approaching the dance or Egyptians' tastes-- in fact her influence is mostly limited to a rather closed circle -- it's that she's found her audience in a certain sector of Egyptian society that's already had those tastes. The Cairo 'posh.' The 3%. The self-serving elite and nouveau riche who prefer English to Arabic, whiskey to hasheesh, and who uncoincidently situate themselves away from the lumpen. I'm not rich-shaming, by the way. Just laying down the facts. Amie is part of and thus appeals to this sector of the society. More power to her. But let's not buy into the hype about her single-handedly changing dancers and audiences' preferences.

Blame, Shame, and Shobha

Disclaimer: This was written a year ago.

Let me begin by explaining the concept of shobha (pronounced shoub-ha). This idea-word is very much indebted to Islamic thought on gender relations. As such, there is no real equivalent in the English language. But for the purposes of this entry, I'll define it as the state of shame that occurs when one puts oneself in a seemingly compromising situation. Emphasis on 'seemingly.' As is typical of shame, shobha is more concerned with how a situation *appears* to the outside observer, rather than with the actual facts of the situation known to those who are experiencing it. Interestingly, the word is derived from the root sha-ba-ha, which means to resemble, to appear to be, etc.

Here's an example. A man and a woman are sitting together at a table in their workplace, having a conversation. They are not married to each other, nor are they related in any way. So when their colleagues see them sitting together, they automatically assume that something illicit is transpiring. Illicit activities between unmarried men and women in the non-secular Muslim mind include spending unnecessary time together, flirting, joking around, holding hands, dating, and everything else that could possibly happen between members of the opposite sex. The two are then harshly judged by all those who know them and see them together (If they are together in a place in which nobody knows them, there is no shobha. Onlookers will assume that they are married and hence not doing anything wrong). The actual reality of the situation doesn't matter much. The two could merely be having a friendly conversation, collaborating on a work project... one could be reprimanding the other for bad behavior, or even teaching him or her the Quran. The possibilities are endless, but all that concerns the onlookers is the fact that the two are sitting together without being married or related.

The Belly Dancer's Body

Back home, we have this notion that belly dance has a more accommodating aesthetic than other dances--that this art is for all sizes, shapes, colors and ages. And that may very well be the case, because, we insist on it being that way. And also because belly dance is not a mainstream form of entertainment there. The majority of high profile performances are unpaid and occur within the context of festivals, produced and attended by other dancers. It can therefore get away with having dancers whose bodies would be unsuited for traditional mainstream performing arts like ballet, hip-hop, music video, ballroom, etc. In the real world--and by that I mean the part of the world in which belly dance is a major pillar of mainstream entertainment--things are little bit different. OK, a lot different. In the Middle East, your numbers-- inches and years--are just as important as they are for a ballet dancer in the US. There is an ideal standard of beauty held by a good majority of the people, and any deviation from that is less marketable. Now we don't want to lump all the Arab countries together when it comes to this issue; the ideal aesthetic in Egypt is a bit different than what it is in Lebanon and in some Gulf countries. However within each of those countries, you'd be hard-pressed to find people who have an alternative vision of beauty.

That being said, fellow belly dancer and author Zaina Brown and I decided to share our experiences with body image, as we've both been working as professional dancers in the Arab world for years--Zaina in the UAE, Yemen, Bahrain, Tunisia, Algeria, Morocco, Egypt, Turkey, Mali, and India, and myself in Egypt. By the way, you can follow Zaina on her own blog, "Where's Zaina." And if that's not enough, you can purchase her book "Stories of a Travelling Belly Dancer" from Amazon. It's a great read that documents her experiences working as a dancer in the Middle East. Zaina also just produced a documentary called "Traveling Belly Dancer in India," which is currently screening in film festivals around the US. It will be available for public viewing by the end of 2015. In the meantime, Zaina is dancing in the New York / New Jersey area and is working on a new book about dancing in the Middle East.

Competition Craze

Belly dance competitions are a lot like sex. You'd rather your kids not have it, but you know it's inevitable. So you teach them the right way. The 'safe' way. Sorry for the analogy, but this is how I feel about competitions. Not exactly the best our art has to offer, but an undeniable part of its current landscape. As someone who has both judged and entered competitions (back when I had no idea how terrible I was), I think I'm pretty qualified to talk about this subject, as well as give a few pointers on how to do it the 'right' way. And I have a lot to say. As always. :)

First I should mention that I  have many friends who have both entered and won competitions. I'm very proud of them, as I do see this as an accomplishment on some level. When truly deserved, winning a competition can bring a dancer recognition, esteem, and even jump start her teaching career. Which is great. None of my subsequent criticisms of the competition world are meant to detract from their success in any way.

Creating Your Own Style

There's a recent trend emerging in the international belly dance community that's come to my attention. It's the obsession with creating your own style. Over the past year, I've had several workshop attendees ask me how to do this, and how I created mine. This is an important question, but also a bit misguided...at least as it pertains to me. I didn't create my own style. It created itself. I didn't sit down with myself one day and say hey, I've been dancing professionally now for x amount of years, it's time to create my own set of moves and combinations. I mean it's OK to have that conversation with yourself, but it's neither necessary nor guaranteed to result in your own signature moves. Rather, as I suspect happens with many dancers known for being different, we stumble upon new moves as we advance in our careers. Not while taking classes, but on the stage and while practicing in the studio. I've noticed that the more we perform and choreograph, the more our bodies reveal different ways of moving to us. 

As with everything, this is a process that comes easier to some of us than others. After all, life is not fair. We don't all have the same opportunities, abilities, experiences, or resources. And we're talking about art here. Art is a very personal enterprise. It depends on factors that vary from individual to individual, such as access to training; how long you've been dancing; training in other dance or art forms; body type and overall health; technical ability; cognitive ability; personality; psychological disposition, aptitude for creativity; ability to think abstractly; intellectual background; life experience; worldview; spiritual inclinations; economic and social status; the environment one grew up in; the languages they have access to; childhood experiences, etc. Art depends on all that-- on everything that makes you unique. That's why one person's art will look different from another's. If it doesn't, that person is a copy artist.

Review of "Al-Raqisa" Episode 2

Disclaimer: I'm not trying to be snarky or offensive with any of my observations, so please don't take this personally. Understand that if you're going to put yourself in the public eye, then you have to expect and accept criticism.

The other day I posed a controversial question on Facebook. Is it fair to pit Egyptian dancers against foreign dancers in a competition? Almost all of the Egyptians who responded said no. Egyptians have a natural advantage in that they've been Egyptians their whole lives. They grew up with Egyptian music, the Arabic language, and have been dancing baladi since the day they were born. Interestingly, the non-Egyptians responded by saying that it's perfectly fair to compare Egyptian dancers with foreign ones because the latter compensate for their cultural disadvantage with years of hard work, passion, and amazing technique. While I generally agree with that, and while there are many excellent foreign dancers, I have to say that I'm with the Egyptians on this one. It's not that Egyptians are inherently and always better dancers than non-Egyptians, but that both groups bring a different set of skills to the table. Comparing the two would be like comparing apples to steaks. One is pretty and polished, but the other is juicy and well done.

Watching round one of the "Al-Raqisa" competition really drove this home for me. Three dancers competed in front of Dina and the other two judges (a Tunisian actress and an Egyptian comedian). The first dancer was Australian, the second French Algerian, and the third, Egyptian. None of them went through a real audition process by the way. What I felt after watching all of their performances was that it was impossible to compare the first two with the Egyptian dancer. Granted everybody was nervous and probably didn't perform as well as they would have liked to, but I found the first two dancers to be technical and somewhat stiff. The Egyptian dancer was the exact opposite. She barely had any moves, but the few that she did were very juicy... very Egyptian... very baladi. She danced to the original version of a shaabi baladi song called "Ya Gazelle Il-Darb Ahmar"-- a song that most foreign dancers have never heard of unless they've worked in Egypt. She entered the stage with a melaya leff, and then left it to continue dancing in her typical baladi way, replete with baladi facial expressions and baladi gestures. The whole routine was improvised and simple, but undeniably Egyptian.

Always Let Your Music Be Your Guide: Choreography vs. Improvisation

Something I’ve always been curious about was whether Cairo’s belly dance stars choreograph their shows.  I remember watching Dina, Randa, Soraya and Asmahan for the first time seven years ago, thinking there's no way such artistic genius could be produced spontaneously. At the time, I was a choreography junkie, and I imagined everyone else to be. I couldn't believe that improv could look so good.  Until now, I still don’t know whether/which dancers choreograph. I’ve never asked any of them, and I don't exactly suppose I’d get honest answers if I did

If my onstage experiences are similar to those of other Cairo dancers, however, I think it’s safe to assume that most of us do both choreography and improvisation--depending on where we are in our careers. I’ll speak for myself at least. Currently, I mostly improvise. But that wasn’t always the case. When I first started performing regularly here four  years ago, I relied heavily on choreography. My own, of course. Back then, the thought of dancing to live music for live Egyptians :) terrified me. I was afraid that if I improvised, I would be boring, or “mess up,” so I choreographed every single doom and tek until the piece was airtight. I also figured that performing choreography would free my mind to concentrate on posture, hands, emotions, and presence, and that if I were too busy thinking up the next step, all those other aspects of my performance would suffer. 

Cabaret Day

You know that feeling of being stuck in a rut and not being able to get out of it?  That's what it's been like for me these past two months. I think it's a combination of feeling like I've accomplished everything there is to accomplish in Egyptian belly dance land, and that what's to come is more of the same, plus a sense that I may have outgrown this country. I'm not faulting Egypt.  I'm faulting myself.  I have a tendency to get bored... with things, places... people. And just when I was seriously starting to contemplate a major life change, the gods distracted me with the mother of all gigs-- a birthday party at one of the seediest cabarets in town.   

You're probably wondering what the big deal is.  The big deal is that, aside from jolting me out of my boredom, a "5-star" dancer performing in a sleazy cabaret is a no-no.  Here, if you're a featured dancer at a 5-star hotel or cruise, dancing at low-class venues puts your reputation and sometimes even your career at risk.  That's because well-to-do Egyptians have a tendency to be very classist. They despise whatever they consider to be beneath them, and condescendingly dismiss lower class mannerisms, behaviors, and tastes as baladi, or (my favorite) bee'a-- lowlife.  (There are some deep historical/psychological reasons for this, but I'll refrain from getting into them here.) If the rich owner of the ritzy-by-Egyptian-standards Nile cruise that you work on finds out that you moonlight at cabarets, he just might fire you-- you are now tainted. :)

On Belly Dance and "Cultural Appropriation"

I never intended to respond to Randa Jarrar's article "Why I Hate White Belly Dancers," but I did.  And now I'm going for round two.  This time, I want to unravel Jarrar's whole argument by chipping away at her assumption that white women's "appropriation of the art causes others harm."  Without that element of harm, her argument falls apart. White belly dancers (or black or Asian or Latina ones) cause no harm whatsoever to the people to whom this dance "belongs."  No bodily harm, no economic harm, no social harm.  Quite the opposite really.  The vast majority of Arab women and men appreciate non-Arabs learning and mastering their dance.  At the very least, they fetishize us, similar to how some of us exoticize them.

Let's dissect this a little bit.  Of course the idea that one woman's dancing causes another woman physical harm is ridiculous. So let's put that aside.  But how about economic harm? In order for Jarrar to suggest that the alleged "cultural appropriation" we're engaging in is economically detrimental to Arab women, it would have to be true that white women are taking opportunities away from them.  This is patently false.  Due to a very unfortunate mentality that demonizes women, women's bodies, and women's independence, not too many Arab women aspire to become professional dancers (and this mentality has NOTHING to do with European imperialism. It's much older than that.). The few who do take up the profession desperately need the money, and are brave and skillful enough to dodge the social stigma.  However, most of them would rather die of starvation than dance for money.  It's therefore simply ignorant to state that white appropriation of the art is "harming" Arab women by taking away their opportunities. That's like saying illegal immigrants are hurting Americans by taking away all of the toilet bowl cleaning jobs.

The Festival Farce

I’ve decided to lay off the politics for a while and get back to writing about dance.  Though admittedly, there's not much of a difference…
           

I’ve been wanting to write about Egyptian dance festivals for a while, but have refrained for fear of pissing people off.  Now, I no longer care.  I've realized that no matter what you do, people will be pissed, so you might as well give them a reason.  Like telling the truth.  Which is exactly what I will do in this post.  I want to talk about what really goes on in the world of dance festivals.   Not that we don’t all already know.  But after 5 years of witnessing this stuff, I feel like sharing it.  Because what I’ve discovered is that the policies, practices, and philosophies that go into creating festivals have nothing to do with art, and everything to do with greed.  And it’s high time someone called it out. 

The original idea of creating A dance festival in Egypt was brilliant.  It was intended to be an annual event in which the best of Egypt’s folklore and belly dancers would teach foreign dance enthusiasts.  Licensed foreigners performing in Egypt would also be featured.  The mission was to promote Egyptian dance.  The rationale was that since belly dance originated in Egypt, who better to teach it than Egyptians and foreigners licensed to dance in Egypt?  

Egypt: Reasons for Hope

We all know how much of a pessimist I can be when it comes to Egypt.  And with good reason.  For a while, it seemed that rottenness knew no limits.  Not only had a demonic, Islamist/Nazi regime hijacked the country, but the quality of life had quickly deteriorated (not that it was any good to begin with).  The economy had imploded, unemployment went through the roof, huge lines of cars wrapped around the city, angrily waiting for a few liters of gas in the 100* heat, fights broke out everywhere, the traffic was impossible, and the heaps of garbage rivaled the tallest pyramids.  Then, as if things weren't bad enough, the country broke into a mini war, with one side attempting to bring down the Brotherhood regime, and the other attempting to preserve it.  The rest is history.

Three months later, I'm strangely happy to report that my signature pessimism has turned into optimism.  Yes, me, ever the naysayer, has found reason for hope.  Let me share with you why.

The garbage. 

The Ugly & The Inevitable

I'm currently in the US, but by the way I'm conducting my life, you'd never know it. If I'm not teaching or performing Egyptian dance, I'm glomming up Egyptian news. Or I'm on the phone with Egypt. I left my life in Cairo a little over a month ago, thinking that as usual, I'd spend Ramadan in the US, and go back to Egypt for the Eid holidays. But that's not how things played out. You see, I would have gone back 10 days ago, except that my parents were making my life miserable over that hoax of a terror alert for Americans in the Middle East. For the first time in a long while, I listened to them. Their constant insults and screaming at me for wanting to go to Egypt during such times was more than I could handle. So I dragged my butt to JFK Airport and told Al-Italia that I wanted to postpone my flight another two weeks.

Well, the two weeks aren't even finished, and I'm about to delay my return once again. As you all know, the situation in Egypt right now is a little bit, err, "uncomfortable." Not to mention there's no work. My presence there would neither contribute to Egypt nor to my wellbeing, so I see no reason to go back at this point. I mean, I guess I could go and just sit in my apartment all day and night, listening to gunfire. Or watch the news 24 hours a day. Or tell Facebook how brave I am for living in Egypt through these turbulent times, even though I really don't have to. I don't know. It just doesn't sound like the brightest idea to me. And it's not like I have something to prove. So I've decided to hang out in the good old US of A until things subside, or if they don't, until I feel it's safe enough for me to go back, collect my belongings, and say my goodbyes.

The Democratic Republic of Egypt

This is long overdue. I would have published it earlier but I was busy traveling and doing workshops. So here you have it, my thoughs on the June 30th revolution.

I am newly in love with Egypt. I don’t know any other place on Earth where millions of people can oust two dictators in less than three years. I don’t know any other country where the military intervenes to execute the will of the people yet leaves the governing to civilians. Since the revolution, I’d lost my faith in this place, but what happened last month restored it.

Well, partially at least. I realize that the Egyptian armed forces are no angels, and that they’d committed a litany of crimes since the outbreak of the revolution. I’m also aware that technically (from an American vantage point at least), the army shouldn’t be meddling in domestic affairs or running the economy. And I can see how that could rub Americans the wrong way. That’s because in the United States, we can’t even begin to imagine the army commanding the president to step down! We’re used to power being neatly compartmentalized. Each branch of government, including the armed forces, has its responsibilities and limitations. There’s no overstepping of boundaries. (In theory at least.)

Revolution Part II

I have to admit, I've been feeling a bit uneasy.  I'm afraid of what's going to happen starting on June 30^th.  Or really, about what's already happening.  In just two more days, the world is going to watch round two of the revolution—Egyptian People vs. the Egyptian Government Part II.  Egyptians will take to the streets in droves and try to topple their government yet again.  And while I fully support them, me suspects that the sequel is going to be a little longer. And a bit bloodier. :/

Why do I feel this way?  Well, because as of now, clashes between those who support Morsi (aka Big Beard) and those who don't have broken out all over the country.  So far, four are dead (one of them is a Brother), and hundreds are injured.  Morsi's speech the other night only made things worse.  All he did was make veiled threats, blame people for his failures and advise Egyptians to solve the electricity crisis by shutting off the lights!    

Leela Draws Luna

I'm so happy to share this outstanding work of art by Leela Corman, who in addition to being a belly dancer, is a top graphic novelist. After reading several of my status updates about my rather dramatic life in Cairo, Leela was inspired to illustrate a bit of it! :D 

A sneak peak of "Luna of Cairo" by Leela Corman.

2013 Summer Workshops

Hey everyone!  It’s almost that time of year again (Ramadan) when I get to come home and relax from my busy life in Cairo.  Though honestly, I don’t think I’ll be doing much relaxing.  I’ve got a pretty busy workshop schedule set up for me, and I wanted to share that with all of you.  I’ll also be available for private lessons, and will be bringing plenty of new and used costumes for sale!  Please don’t hesitate to contact me or any of my sponsors for more information or to register.

In chronological order:

Egyptian Weddings

As much as I love performing on the Nile Memphis, nothing beats the excitement of dancing at weddings.  Weddings are considered the “holy grail” of the belly dance industry, and with good reason.  Everything from the money to the exposure to the band and the dance floor is bigger.  (You know what they say about bigger. :D)  Though it’s often impossible to put on a show when hundreds of jubilant guests are crowding on top of you, I still enjoy dancing at weddings more than anywhere else. 

The main reason I prefer weddings is that my show is longer and my band is bigger.  Instead of my usual two costume changes and 6-piece band, I change my costumes four times, and expand my band to at least twenty members.  The music is rich, layered, detailed, and powerful.  Providing the sound system is decent, the music is so loud it takes over my body and does the dancing for me.  Suffice it to say that most of the time, I have no idea what I do/did on the dance floor—until I see a video (if there is one). 

I don’t know what to title this post.  “The Flight from Hell;” “I Hate Air France/Delta,” “Why I Love Egypt,”  “Flying Stinky;” “The Worst 48 Hours of My Life,” “Everything Works Out in the End” would all do, but none on its own would do justice to the magnitude of the disaster that was my flight from Egypt last weekend.  Let me explain why.

Earlier this year, I had been asked to do some workshops and performances in Cincinnati in April.  Given that I enjoy teaching, needed a break from Egypt, and needed to get the remaining two puppies to their new mommies in the US, I gladly accepted the invitation.  My sponsor booked me a roundtrip flight from Cairo to Cincinnati with Delta/Air France, which are one and the same now.  What ensured thereafter was a travel catastrophe of epic proportions, and another example of how Murphy’s Law hijacks my life every now and then.  Well, rather frequently actually…

Ethics

There’s been some talk about ethics in the belly dance community lately.  This is always a good topic, and something that needs to be discussed in any field.  But not when the discussion comes from a false position of self-righteousness, or when it’s a masquerade for a personal problem between people, or when it’s meant to embarrass and “expose” someone you don’t like.  When a discussion about ethics becomes the choice weapon in our own personal battles, then maybe it’s time to step off the podium and examine whether we’re living up to the standards to which we hold others.  

There seems to be an assumption in the belly dance world that the only issue of ethics pertaining to us is that of the casting couch.  Meaning, as long as we don’t have sex with managers, venue owners, or other “men of power” to procure work, we’re completely ethical artists.  While this is definitely one of the biggies, being an ethical artist entails much more than not selling your body for work.  

Touch of Life

An "ambassador" greeting us at TOL. :)

It’s no secret that animal cruelty is endemic in Egypt.  Anyone who has been here can tell you that.  From dogs to donkeys, cats to cows, it’s almost impossible not to witness an act of cruelty or neglect on a daily basis.  I know this isn’t unique to Egypt, and that cruelty to animals exists all over the world.  But the sheer magnitude and visibility of the problem here is overwhelming.  In fact, it’s so commonplace that many Egyptians don’t even consider it to be an issue.  Like sexual harassment, it’s a fact of life, not a “problem.” 

   

Examples of brutality to animals include but are not limited to: senselessly beating donkeys that are too “stupid” to obey their masters; beating, torturing, poisoning and shooting stray dogs; spraying toxic chemicals on dogs and cats causing them blindness; starving “work animals” such as donkeys, horses, and cows; transporting hordes of cattle, sheep, and donkeys in pickup trucks.  I’m sure there are other examples of abusive acts, but I’m incapable of imagining them. 

Crazy Dog Lady

Two brown puppies up for adoption.
 

Yep.  It’s official.  I’m the crazy dog lady of Cairo. :)  I am now the proud caretaker of 5 dogs.  One mum and four pups.  I swore I wasn’t going to rescue anymore dogs, but alas, I lied. 

It all started a few months ago.  I was coming home from a long night of work when I noticed a sad-looking dog curled up in the entrance of my building.  That’s odd, I thought.  Street dogs usually avoid people.  There’s probably something wrong with it if it’s decided to seek refuge inside the building.  So I decided to find out.  I approached the dog slowly, not knowing if it was wounded or scared, or if it would bite me.  “Hiwoy,” I said (that’s “hi” in the super retarded doggie language I invented :D).  I got closer and crouched down to pet its head until it finally acknowledged me by wagging its tail.  Very well.  It didn’t seem to be hurt, so I made my way to the elevator.

From Ballet to Belly

I’ve forgotten the names of all of my elementary and high school teachers, but one name that will remain with me till the day I die is Dorothy Lister.  Dorothy Lister was my ballet teacher at the Joffrey Ballet School in New York City.  I studied--more like suffered--under her tutelage until the age of 15ish, at which point she quit the Joffrey, and I quit ballet. 

Miss Dorothy was, oh, just your average ballet nazi. :) Old enough to be my grandmother, she was a stickler for discipline and had zero tolerance for lazy feet, lifeless limbs, and other similar ballet crimes.  And she’d punish us too.  Whenever she caught us slacking off at the barre, she would angrily clap her hands and let out a shrill “STOOOOOOOOOOOOOOOOOOOOOOOOOOP!!!”  At which point the class, the piano player, and all of 6^th Avenue would freeze in frightened paralysis. She would then sarcastically imitate our mistakes to show us how dumb we looked, and literally yank our body parts into the correct position.  Miss Dorothy always ended these torturous episodes with her signature dirty look, which masked her grin of sadistic satisfaction.  She’d then carry on with class.  

Current Affairs

One of the reasons I allowed myself to come to Egypt was because I was burnt out.  Six years of nonstop reading, writing, and thinking about Middle Eastern politics will do that to you.  Not to mention the constant debating, arguing, analyzing, questioning and critiquing.  It’s educational, no doubt, but also maddening.  Your brain never stops.  One thought opens the door to a million new ones.  I thought learning to dance in Egypt would be the perfect way to clear my head of all the political pollution, but boy was I wrong.  If anything, living here has only the made the wheels in my head turn faster.  Especially after the revolution.  All people seem to want to do is talk politics and make history.  At work, in taxis, at cafes, in Tahrir.  There’s just no escaping the political madness these days.  It’s endemic.

This month was no exception.  Tensions reached an all time high, seemingly over that disgusting film which denigrates the Muslim prophet Mohamed.  As an American who lives in Egypt, this is something that greatly troubled me.  So I want to share some of my thoughts on the matter.  Note: they are just thoughts.  I don’t have an “agenda,” and don’t present my views as THE truth.  

"Living the Dream"

I’m always bemused by all belly dancers who tell me I’m “living the dream.”  Every time I hear that, I want to ask, really?  What dream?  I never dreamed of being a belly dancer in Cairo.  I didn’t even know that was possible! =D

Truth be told, I didn’t come to Egypt with a mission to be a “star,” or because someone pumped my ego with garbage.  I came to Egypt because I had a broken heart.  I hadn’t broken up with a boyfriend or anything like that.  But a couple of years earlier,  I saw something I really wanted and didn’t think I could do-- real Egyptian belly dancing.  Since attending that festival in 2006, I desperately wanted to learn.  But because achieving that level of excellence in the dance requires many years of living in Cairo, I decided that was impossible, and got depressed.

It turns out I was wrong.  I have, after all, been living in Cairo for four years.  Yet at the time, if you would have told me this could or would happen, I would have responded that I also believe in the tooth fairy.  I had just been accepted to Harvard, would spend the next two years of my life there, and would then go on to get a job and make babies.  I couldn’t imagine interrupting the very natural flow of things to fit Egypt in.  Nor could I imagine the logistics of undertaking such an endeavor.  How would I get there?  Where would I stay?  Who would hire me to work so that I could pay my rent and fund all my dance classes?  Too much uncertainty, too much impossibility, no money. 

Feelings About Feeling

Let’s face it.  We foreign belly dancers are under a lot of pressure.  Not only do we have to look good, but we have to dance as Egyptian as possible.  Some get closer than others, but none of us ever hit the 100% mark.  Personally, I think it’s impossible.  Being Egyptian is one of those things you’re either born with or you’re not.  No matter how immersed we are in the culture or how well we speak Arabic, we’ll never be as Egyptian as an Egyptian.  And we’ll certainly never out-Egyptian one. :)  Not that that’s necessarily the goal...  Our “disadvantage” notwithstanding, however, we’re constantly being compared to Egyptian dancers.  And one of the points of comparison is feeling.

“Feeling” is one of those words that has no real meaning.  Yet we use it all the time to refer to some vague concept of Egyptianness in the dance.  We can’t exactly pinpoint what it is, because it can’t be defined, quantified, counted, or taught.   Yet somehow, we know it when we see it.  Most interestingly, feeling is the thing a lot of Egyptian belly dancers (claim to) have, and that we non-Egyptians strive to obtain. 

The Joker. Are You Joking?!

Because I have something to say about everything. ;)

This year more than ever, I had really been looking forward to coming home.  I was homesick, missed my family, and was having cravings that could only be satisfied in New York.  More importantly, Egypt was starting to get a little unbearable.  People have grown irritable and quarrelsome.  The traffic is worse than ever.  It’s impossible to go anywhere any time of day or night without sitting for hours in a cab, inhaling toxic amounts of exhaust.  Most cabs don’t have air conditioning, and it’s disgustingly hot and humid.  Some do, but lots of times, drivers lie and say the AC doesn’t work. 

I’m also a bit fed up with wearing long pants and long sleeves in this weather.  But what can I do?  Anything less and I’d be asking for real trouble.  These days, women are being assaulted in ways that never happened before the revolution.  I should know.  In just one month, I was targeted three times!  The first time, a man jumped out of a microbus and chased me down the street in broad daylight.  Next, I was in a cab when a gang on 10 motorcycles spotted me and tried to crash their bikes into the cab.  The driver got angry and tried to run over the motorcyclists.  Had I not barked at the driver to stop engaging them, we would have had a catastrophe on our hands.  Most recently, teen-aged boys sprayed tear gas in a cab that my friend and I were getting into.  Both she and I and the driver started tearing.  And I started losing consciousness.  We eventually drove away and the gas wore off.  

Woe to Egypt

I would have posted this earlier last week, but I've been insanely busy.  I apologize in advance, as there will be no sacred cows.  If you have any, don’t read this.

I feel like I just woke up from a nightmare.  Only, that nightmare continued into reality.  Islamists won the Egyptian presidency, fair and square.  That’s after winning 70 percent of the (now dissolved) Parliament.  Not to sound like a jackass, but I told you so.  

Even before this so-called revolution, I knew that religious fanatics would eventually come to power.  It was only a matter of time.  I guess studying the Middle East at Harvard is responsible for my political foresight.  But honestly, anyone with half a brain would have reached the same conclusion. The writing was on the wall.  Egypt has been ripe for Islamification for some time now.  One need only have noticed the growing number of veiled women and bearded men, and the widespread illiteracy, unemployment and poverty to figure that out.  If that’s not the perfect recipe for Islamist governance, I don’t know what is. 

The Politics of Harassment

“Egyptian women sexually harassed at anti-harassment rally,” read this week's headlines.  Well isn’t that ironic? 

On Friday, a few hundred women staged an anti-harassment rally to protest the sexual harassment that is ubiquitous in Egypt.  Male supporters formed a protective circle around them, only to be overwhelmed by hordes of violent young men who sexually assaulted some of the protesting women.  

And this, ladies and gentlemen, is what happens when women stand up for themselves in Egypt.   

Wait, maybe we shouldn’t be so quick to condemn.  Let’s look at the bright side.  Some Egyptian women and men are starting to recognize that sexual harassment is a HUGE problem and are willing to do something about it.  It’s unfortunate that it took several instances of revolution-related gang rape for them to wake up, but at least they’ve awoken.  Better late than never. :/

"No Justice, No Peace"

In the words of New York City firebrand, Al Sharpton, “no justice, no peace.” This is what came to mind upon hearing the verdict of the Mubarak trial two days ago. I have never had much use for the Reverend Al, but his words reverberated in my head as thousands of Egyptians took to the streets, enraged that Mubarak and Co. were let off the hook. Mubarak was facing life imprisonment for failing to stop the shooting of protesters during the initial wave of the 2011 revolution. So was Mubarak’s Minister of Interior, Habib Al-Adly, and Mubarak’s sons, Gamal and Ala. The six officers charged with actually pulling the trigger on protesters were also let off scot-free.

If that’s not getting off the hook, I don’t know what is. You would think that after thirty years of robbing the country, they could come up with enough charges to put him in the electric chair. Or to wrap a noose around his neck and mete out justice in Tahrir Square, Iraqi style. Which is basically what a lot of Egyptians clamored for (especially the relatives of those who died in the revolution). Instead, Mubarak was found guilty of only one crime but innocent (!) of numerous corruption charges.

As if we really needed a trial to prove that Mubarak was one of the most corrupt dictators in the world. One need only look at this place to know the extent of the damage. The education and health systems are a joke. The economy is in shambles. Unemployment and illiteracy rates are embarrassingly high. Traffic is a nightmare. Pollution is out of control. That’s all the proof of Mubarak’s corruption you need right there. But no. Egyptians are having a trial, knowing full well all the judicial finagling that will occur. Alas… us moderns and our obsession with process. :/ 

What I find most intriguing is the collective Egyptian reaction. Of course, Egyptians have the right to be outraged. But outrage implies surprise. For the life of me, I cannot figure out what is so surprising about any of this. From the very start of the trial, it was clear that things were fixed in Mubarak’s favor—Mubarak appointed all the generals, prosecutors and judges! Even without these appointments, we would still have a sense that things were fixed, because that’s just how things work here. This time, however, it was a little more obvious and therefore insulting to the national intelligence. 

Yes. That’s it. Insulting. Egyptians are insulted, not surprised. They are insulted that the powers that be think they are as stupid as to believe that Mubarak only did one thing wrong in his thirty-year tenure. They are insulted that even after a revolution, it’s still business as usual in conspiracy-prone Egypt.

This is why there will be no peace. Because there is no justice. Until the guilty and the innocent trade places behind bars, Egyptians will not stop raging in Tahrir. Don’t get me wrong. I fully understand that in this part of the world, in these times, manipulating political events to ensure more desirable outcomes is necessary. It may not be “right,” but it is better than letting nature take its course. Letting nature take its course (i.e. free and fair elections), would result in Islamists gaining complete control of the country. That would have disastrous affects for everyone, including the people who voted them in. Hence, I fully support rigging the presidential elections to ensure the victory of a secular candidate. This is probably really un-American of me to admit. Then again, I’m not exactly a (small d) democrat these days. 

That being said, Egypt could have afforded to conduct the Mubarak trial with less overt manipulation; convicting Mubarak for murder and corruption would not have jeopardized the future of the country the way fair elections would. If anything, conducting a fair trial would have been a nice gesture…a symbol of goodwill toward the Egyptian people. It would have communicated that the revolution was not fought in vain. At least not entirely. 

Not to mention, the timing of the trial was all wrong. The verdict came directly between the first and second rounds of the presidential elections, both of which are (rightly) perceived as rigged.  If Egyptians were outraged at last week’s election results, this verdict basically guarantees that this time around, Egyptians will approach the polls with a vengeance. And it’s the Islamists who stand to benefit. 

Here’s why. Last week’s election results put Egyptian liberals in the unfortunate position of having to choose between the two evils they have been trying to extinguish—Mubarak and the military, on one hand, and radical Muslims, on the other. Liberals must now choose between the Muslim Brotherhood’s Mohamed Morsee, and Mubarak’s former Prime Minister, Ahmed Shafiq.

Or, they can start a new revolution…

I’m willing to say that before the verdict, liberals would have voted in droves for Ahmed Shafiq. Not out of conviction, but to prevent the country from falling into the hands of radicals (and because this would be easier than starting another revolution…and because liberals have tacitly admitted defeat). The revolution did not preside the way they hoped it would, and it is too late to save it. Their only option would be to prevent Egypt from turning into Afghanistan. If that means electing a Mubarak crony, then so be it. 

After hearing the verdict, however, many angry liberals will vote to Morsee. Also not out of conviction, but out of spite. They are disgusted with all things Mubarak. Though Morsee wants to impose Shariah law, everyone knows that he is also the ancien regime’s staunchest opponent.  Right now, this is the most important thing for disillusioned Egyptian liberals. 

Casein point, Mr. Ayman Nour. He is one of Egypt’s most influential liberals who publicly endorsed Morsee. Ayman Nour is a hardcore secularist who made a career out of opposing Mubarak. His activism landed him in jail for being the first person to ever challenge Mubarak for the presidency in 2005. After hearing the verdict of the Mubarak trial, however, Nour declared his intent to support the Morsee campaign. 

So there we have it. Basically, this means that if the second round of the elections is not rigged, Morsee gets in. Now, I’m willing to believe (and sincerely hope) that the elections are fixed in Shafiq’s favor, but if they are not, we can kiss this country goodbye. 

If the elections are fixed and Shafiq wins, things will get ugly fast. We can expect more protests and more violence. Though Egyptians have historically had a high tolerance for corruption, a sham verdict on the heels of a rigged election was just too much, even for Egypt.

But if Morsee gets in, things will get ugly slowly. Women and Coptic Christians will be stripped of their rights and dignity. The economy will shatter even more than it already has, and life will become as miserable as it is in other Islamist countries. Slowly. Wahda wahda. That is more dangerous than any protest, or dare I say, any isolated massacre. Massacres come to an end, and people lose their enthusiasm for protests. But gradual Islamification lingers on for decades, destroying people’s livelihoods and lives. 

This is why this mockery of a trial was the biggest mistake since the onset of the revolution. It has angered people so much that they are now willing to throw their support behind the candidate who will most definitely destroy Egypt as we know it.

No justice, no peace.  

The Lesser of Two Evils

“El-Tet” 24/7 Belly Dance TV

Sorry, this is going to be long. I have a lot to say. 

If there’s anything positive coming out of post-revolutionary Egypt, it is the new belly dance channel, “El-Tet.”  Based in Bahrain with an office in Cairo, El-Tet features performances by Egyptian and foreign belly dancers 24 hours a day. That’s right. Shimmies and undulations around the clock on national Egyptian TV. The channel, which is a little over a year old, takes its name from the Egyptian Arabic word for the accordion/tabla section of a baladi piece. It is actually pronounced “tit,” but for obvious reasons, you’ll almost always see it transliterated as “El-Tet.”  Short “e,” not “i.”

I first encountered the new channel last December, when some of my musicians insisted they had seen me dancing on TV. I hadn’t heard of the channel before, and I had no idea why they were saying this, although I found the idea of a channel named “The Tit” quite hilarious. So, I assumed they probably saw another dancer who resembled me. I was right. My tabla player showed me the clip of the dancer in question, and sure enough, it wasn’t me. I don’t know how he confused us, but then again, Egyptians tend to think all of us foreigners look alike.

Dancing to "Ya Helwa Sabah" on El-Tet

"Being a foreign Belly Dancer in Egypt Interview with Luna of Cairo

Interview by Isis Zahara

WEDNESDAY, MAY 09, 2012  

"We are all of us stars, and we deserve to twinkle."--Marilyn Monroe 

Luna of Cairo is an American Belly Dancer originally from Brooklyn, New York (she studied in Harvard!) and has been living in Cairo for the past three years. She is contracted at the Nile Memphis in Cairo (Memphis Tours Nile Cruises) .

Luna will be at the next Salamat MasrEgyptian Festival (July 05^th till  July 12^th  2012) teaching with well-known Egyptian belly dancers stars Mona El Said, Zizi Mostafa, and Najwa Fouad.

She has a polemical  blog: Kisses from Kairo.  Where you can read experiences about being a  foreign belly dancer in Egypt, some cultural contrasts and - as she says - her mistakes, observations and successes!

IZ: When and why did you decide to start a successful dance carrier in Egypt?