So, what is this all about?

| | Comments (4)
So, what is this all about, then? Put simply, Thinking Outside the Box. I bought the hype too, you know. At least, at first. All the little things we dancers tell each other to keep our spirits up, to keep the nasty, ugly "real world" outside our cozy sequin-covered lands. The usual suspects; "Egyptian dancers are Goddesses", "Belly dance is a fine name", "Believe in your dance, and everything will work out", and that old bug-a-boo, "We're all Sisters in the dance; don't criticize your fellow Sisters." But I'm not a Sister. Maybe it could never work out, especially as I don't plan a trip to Switzerland anytime soon. Here, with Apostate, is where the Journey takes me, because I'm not smart enough to keep my mouth shut. I'm fed up with the hype. Annoyed with the illusion. And, to compound my sins, intrigued by the "edgerunners", people playing in the dark corners of the raks universe. So, Rule Number One: It's raks. Just raks. If you're annoyed by this, sorry. But that's been it's name for at least 5 centuries, and over 3 continents. I see no real reason to use the name some silly over-hyping carnival barker applied to it as a general rule. That said, I actually do admire some of the "reclamation" efforts going on with the term "belly dancing". And I understand the need to get over, get gigs, any way you can. I rarely belittle those who are so hungry for the day that they put all else aside for it. As for me, I have the freedom to be picky, and I try to use it to make sure other people can have that freedom. Indeed, you'll see me use the term “belly dance” myself. Rule Number Two: History Matters. Raks shaquri -- the bit with all the beads and fancy stagework-- is only a few years older than my grannie. And I argue with my grannie all the damn time. History matters not because we can ape it, but because it teaches us what _not_ to do as we grow up and change. Why not dig further? Why not actually study the past, make it relevant to today? We've mined the concepts of Poor Miss Masabni till the well's about run dry. And all she did was look at the popular concepts of that day and layer them onto raks. There's no rule that says it's the only way, and a dozen that says you can do better, if you think outside the box. Rule Number Three: The Future Makes Everything. Why do you think all this is important? Because we want to make A Much Better Tomorrow for our children, be they children from our bodies or from the sharing of our hearts, minds and souls. Does anyone really think people in the future will be impressed by concepts we live right now? Does anyone really want your daughter -- or son! -- to be a dancer, having to hack it out the way you are now, in the costumes you craft today, in the way where you can't make a living off this dance, save by selling skin? Let's find a better way, people. And let's start now. Don't like my ideas? Wanna pick a fight? That's what the comments section is for.

4 Comments

Excellent piece.
IMO, when it all comes down, once we have introduced choreography and set patterns of steps, we are no longer doing the art referred to as Raks. We are now dancing "western style" with western ideas of where to go and how to get there.

I have yet to see any documentation that true Raks had set movement combinations or patterns.
If you find out otherwise, let me know.

So to summarize, the dance form we refer to as bellydance ("Western version") IS a different dance form than Raks if it is choreographed.

Isn't the word raqs synonymous just with the word dance? If this is the case, then if I go to the local country bar (shudder), I'd be doing raqs line when I bop around to Achey Breaky Heart.

Lilly said:

In Arabic "raqs" means danse. There really is no more than that to it. Sharqi (by the way, that's the correct spelling of it), is Oriental... So, put together, Raqs Sharqi is Oriental Dance.

Belly dance, is more the Western's bastardization of what the danse is all about. I'll have to dig a little more for the history of the term, if you're interested.

asim al-talib said:

Roya: Maybe you're right. Dance is a fragile beast, sometimes, and subtle shifts in the framework can make a huge difference.
At the same time, I submit to you that most Western forms of dance, for example, do not differentiate between improv and choreographic forms. Ballet does not change when it is done "off the cuff", I believe.

To me, the difference between raks and other forms lies not in the choreographic realm, but in it's movement vocabulary.

Leave a comment

About this Entry

This page contains a single entry by Woodrow "asim" Jarvis Hill published on August 18, 2003 10:56 AM.

Improvisation2Coreography Part I: Introduction is the next entry in this blog.

Find recent content on the main index or look in the archives to find all content.

Powered by Movable Type 4.1