“She was at the same time a lady and a femme fatale, a queen and a peasant girl.” 
          – The Belly Dance Book

          Industry and technology, recorded music and motion pictures, railroads and steam ships –
          all these things contributed to the urbanization and Westernization of Egyptian style
          Middle Eastern dance. From the early 1900s, the influx of travelers from Europe and the
          United States, always seeking something new and unusual, to the Middle East brought a
          demand for entertainment. As the cities grew, the country people moved in, bringing their
          rural, specialized dances with them. They brought their tribal rhythms and costumes and
          realized the Western tourists enjoyed watching them perform. But perhaps the
          Westerners, who brought money and jobs with them, would like the show even more if it
          looked a little less “Middle East” and a little more “West”. . .

          As the world became more connected, the artists of individual cultures began to influence
          each other. So it happened with Western culture and Middle Eastern dance. Oriental
          dance in its original form was quickly misunderstood by most Westerners, especially
          Americans, during the Victorian era when it was first introduced at the World’s Columbian
          Exhibition in Chicago in the late 1800s. A corseted, straight-backed, waltzing culture could
          hardly comprehend the artistry in the sinuous, curvy movements of the Oriental dancers.
          To the Victorians, it was “belly dance”, so obsessed were they with movement of the
          abdomen. Thus Middle Eastern dance was given a reputation as being “scandalous”. Many
          non-Oriental dancers took advantage of this scurrilous description and earned a buck or
          two by trying to copy the movements of the dance while incorporating the removal of
          clothing. Even today, many of us have experienced the odd looks and the physical
          withdrawal of our acquaintances when we finally use the term “belly dance” when
          describing our beloved dance activity. But, as we all know and are reminded by our
          fearless leader, “It’s not THAT kind of dance!”

          Now enters Hollywood - for the first time, people around the world can view other cultures
          without leaving their own countries. Soon music, language, and color entered films to
          further bridge the cultural gaps. Dancers in Egypt could see what Hollywood wanted in
          dance, costume, and music. What Hollywood wanted, they did their best to deliver. By
          marrying the structure of ballet with the fluidity of Oriental dance, Cabaret style was born.
          The blend of dance styles from the country people and altering costume ideas to please
          the Westerners produced a tourist and Hollywood-pleasing dance while maintaining Middle
          Eastern concepts and execution.

          With the popularity of musicals in the 1940s and 1950s, Egyptian dancers realized an
          opportunity was at hand and seized it. Badiaa Masabni, a Lebanese dancer, operated
          Cairo’s first professional dance theater. She brought entertainers from all over the world to
          put together glamorous stage shows. Raks Sharki became a cultural “melting pot” and
          continued to evolve. Many famous dancers started out on Badiaa’s stage including Tahiya
          Karioka, Samya Gamal, and Naima Akef. These women were selected to dance in several
          black and white movies of the time and thus began influencing the style of dancers all
          over the world and continue to affect Cabaret style as we know it today.

          For the Cabaret dancers of the 40s and 50s it was all glamour, roses, and handsome
          suitors, right? Not quite. While the dancers did receive much attention and acclaim, there
          was still a stigma attached to being a professional dancer. Many Cabaret dancers had a
          common story – the poor and/or mistreated young girl loves to dance and becomes a star
          through her art. However, she is not “good enough” to marry. Not that this happened to
          all dancers, but it is a theme still present in Egypt today. Egyptians love to watch the
          dancer, but don’t want her to be their wife/daughter/sister.

          So the Cabaret performer must rise above it all, believe in her craft and in herself, and
          persevere through stereotypes. She has had a tough life, but continues to smile for the
          audience. Whatever her personal life may hold, she puts on a good face for the people
          who love to watch her. She is expected to smile, so she smiles. She is expected to flirt
          and wink, so she flirts and winks. The Cabaret dancer, for her performance time at least,
          is the queen of the dance floor and exudes the confidence so appropriate for her regal
          status. She can change her expression from a shy grin to a demure smile, glide across the
          floor and then suddenly shimmy, all the while holding her head high to support her “crown”.
          Basically, the Cabaret performer must have Cabaret-Attitude.

          Be smart. Be coy. Be confident. Be FABULOUS!

         SOURCES:
          Al-Amira, Jen. Defining the Dance.
          Azar, Soher. A Primer on Middle Eastern Dance Styles.
          Carlton, Donna. Looking For Little Egypt.
          Richards, Tazz. The Belly Dance Book

          Any student of Middle Eastern dance quickly comes to realize that a group of people called
          Gypsies, or Roma, had a notable influence in what is known as American Belly Dance. They
          are thought to be the original vehicles behind the mingling and blending of music and
          dance in the Middle East, Africa, and Europe. This mixing, or fusion, has been largely
          expanded on today in America with evolving artistic dance expression. The intention here
          to give you a brief glimse of the complex, illusive people who pioneered dance fusion. The
          very word, Gypsy, conjures up mystery and intrigue about a group of wandering nomads,
          true masters of adaptation and survival. The title of Gypsy came by erroroneous
          assumptions that their homeland was Egypt. Gypsies actually migrated to Egypt from India
          and are thought to be decendants of the warrior Punjabi tribe. 

          As their travels spread them throughout the Middle East and into Europe, the Gypsy
          people suffered from stereotyping and oppression along the way. It is always easy to
          blame troubles on invading outsiders. Perhaps as outsiders showing up in a new village
          looking for ways to earn wages, they likely posed a threat to established village workers
          and tradesmen. It would not be the first time competition bred slander and intolerance.
          (Just monitor an American political race if you have any doubts about that fact.) That
          coupled with inventive ways to earn money and strange traditions (such as
          fortune-telling) may have perpetuated labeling them as swindlers and subsequent warnings
          of being "gypped" by the Gypsies. Please note that using the term "gypped" in any context
          is offensive to these people.

          There are many accounts of their discrimination in the Middle East and Europe. German
          Nazis are believed to have killed hundred of thousands in an attempt of genocide. Some
          travelers were forced out of areas, and some were forced to stay where they did not
          want to live. As Indira Ghandi noted in an address to the second International Romani
          Festival "Their history is one of sorrow and suffering, but it is also the story of triumph of
          the human spirit over adversity." She also notes that they are "...assets to the countries
          to which they now belong, adding color, spontaneity and zest for life." 

          It would appear that despite stereotyping and related difficulties, they have become quite
          good at blending in today in many countries. However that should not be confused as
          assimilation. It is necessary to address the concept of marime' in order to gain a glimpse of
          understanding into their avoidance of mixing with non-Gypsy people. Marime' is the state
          of defilement and/or of being polluted which apparently originated during the caravan
          period when it was necessary for hygienic reasons. In it's basic form, picture the body as
          being separated at the waist. The upper body is clean and the lower body is marime'.
          Items that come into contact with the upper body can be washed together; however,
          items that come into contact with lower body are contaminated and must be separated. 

          This basic reasoning helped keep diseases minimzed during times of travel, but it has
          evolved into a powerful core belief that today often keeps them from integrating with
          other non-Gypsy people, or "gadje". Things being contaminated progressed to actions
          being contaiminated to people be contaminated. Their idea that the gadje are unclean is
          further reinforced by perhaps seeing someone using a fork that dropped on the floor,
          failing to wash their hands in restrooms, not sorting out underwear at the laudromat, etc.
          They also view the pursuit of money and materialism priotized above family as corrupt and
          vile. Views of the gadje's uncleanliness and corruption mixed with the Gypsy's history of
          being rejected and persecuted serve to reinforce a barrier that keeps them aloof and
          detached. 

          Another interesting consideration of marime' for dancers is how it probably influenced
          dance costuming. In looking back to the Gypsies for inspiration, the long skirts that cover
          the lower body and legs are easily understood in this light. Remember that the upper body
          is not unclean, and, therefore, shame is not attached to a woman's breasts. Bet you can
          easily find pictures of dancers showing cleavage in what would otherwise be considered a
          very conservative costume. The Gypsy influence on American Tribal Style Belly Dance
          costuming is readily apparent. Revealing choli tops worn with full, long skirts over harem
          pants (the lower parts are definately concealed in this costume choice).

          Of course they influenced costuming in other ways as well. Bright colors offerred variety in
          the Gypsy woman's wardrobe. Wages were converted to things like large earrings and
          other jewelry that could travel with them. Coins were used as adornments to clothing and
          hair. They invested in charms, amulets, and talismans for good luck, prevention of
          misfortune and healing sickness. Even today many do not have bank accounts or safe
          deposit boxes and feel safer keeping their valuables on their person.

          The Gypsies are a hard group to analyze as they are guarded about giving information to
          the gadje. They are for the most part very private, family oriented people. With great
          pride in their heritage and ancestory, they have emerged with their dignity intact,
          survivors who do not take the moment at hand for granted. Most harbor a confidence and
          feeling of comfort in the knowledge that they can travel to a new location, set up "camp,"
          and find a way through, over or around any obsticle along their path. This is freedom. 

          So, if you want to dance with a Gypsy persona, do justice to these unique people who
          have unmistakeably made their mark on Belly Dance as we know it today. Show defiant
          pride while building mystery and intrigue. As you dance and travel in time with the music,
          show that you are a master of being in the moment. Be resourceful and adaptive if
          needed, and let the gleam of confidence shine bright in your eyes. 

        REFERENCES:
          Richard, Tazz. The Belly Dance Book.
          Kephart, William and Zellner, William. Extraordinary Groups.
          Ghandi, Indira. "I Feel Kinship with the Roma People." October 29, 1983 Inauguration
          Speech of the International Romani Festival.
          Mourat, Elizabeth Artemis. Gypsy Dancing - Separating Fact from Fiction.
          Courbet, Marko. "Romani Customs and Traditions: Roma Beliefs." The Patrin Web Journal.
          Suraci, Sierra. "Nomads of the Spirit." The Gilded Serpent Magazine.