I would like to try to use this tribe space to continue the coversation started on Gilded Serpent.
We recently posted a BDSS Update by Miles Copeland Here-
www.gildedserpent.com/art46/c...ate.html
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A response from M. Tourbeau of Ohio on our letters pages reads -

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 will admit that I have never been a big fan of the more ‘folkloric’ approach to Bellydance, but then again I have to be open to try something new with each show."

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.

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Miles responds-
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.

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Unposted on GS but now posted here is a response from M. Tourbeau
Thank you for letting me know that Miles Copeland responded to my letter. My point yesterday is that I was dismayed that Mr. Copeland would make such an affronting statement to a large portion of his customer base. As I am sure he is aware, dancers who study the folkloric traditions tend to be more serious and more committed to the art than the trend hoppers, and as a result, they are more likely to purchase tickets, music, videos, etc., as repeat customers. I am still somewhat unclear as to how much of that particular statement from yesterday's article was an unfortunate choice of phrasing, and how much represents an active and personal dislike of folkloric dance on Mr. Copeland's part. Regardless, I believe the remark indicated somewhat of a lapse in judgment, considering the forum and the occasionally contentious history BDSS shares with the larger dance community.

I understand that Mr. Copeland is in business to put a marketable product on stage, and that is a formidable task, especially in light of the current international dynamic. Americans are notoriously xenophobic when it comes to non-English music, and Middle Eastern dance has its own problems with misinformed stereotypes. While everyone acknowledges that it was quite admirable of Mr. Copeland to take on the mission of achieving mainstream acceptance, many of us still cringe at the manner that he has chosen. Throughout the evolution of BDSS, there has been an underlying impression that Middle Eastern music and dance were in need of some sort of "fixing" before they could be marketed to the general public. I personally do not believe, for example, that "Zeina" needs a Reggaeton remix to be palatable to Western ears, but it is neither my money nor my show. However, if I had Mr. Copeland's resources at my disposal, I think I would take a different route and concentrate on finding a way to create public interest with as little compromise to the ethnic integrity of the dance and the music as possible.

I did not mean to imply that I thought that BDSS was not a successful project on its own terms. Obviously if it had failed miserably, it would not be mounting a new tour. Unfortunately, in a larger sense, BDSS has not brought much respect to Middle Eastern dance outside of its own existence. Middle Eastern dance is still perceived as a kitschy, sexy novelty act in most of the US, and students are still ashamed to tell their neighbors and coworkers that they take these classes. There are no dancers who are household names and no Arab singers at the top of the Billboard charts after BDSS features their music. Widespread recognition and respect continue to be out of reach, and many within the dance community are still unsure if BDSS is destroying stereotypes or reinforcing them.

I know that Mr. Copeland is a busy man, and I am sure he has little interest in another round of beating what's left of the skeleton of the dead horse with yet another dancer who disagrees with some of the choices he has made in regard to BDSS. If he wants to continue this conversation with me offline, please forward my e-mail to him. Otherwise, thank you for letting me share my opinions.

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Thank you both for continuing the discussion. At this point I think Miles and others can respond too
Thank you!
Lynette
Editor@gildedserpent.com