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Interview with Tarik Sultan – belly dance expert, New York, USA

Dev - Tarik Sultan welcomed the developers. Let's go do 20 years time, how to find the scene of the Middle East in the U.S., then?

Tarik – Very different from what is now. In the population Overall, there was a greater degree of ignorance about the dance of today there is undoubtedly much lower exposure. The mention of dance in the Middle East frown. At that time, at least in New York, people thought that dancing is something like "strip-tease. It was not uncommon to be denied participation in cultural events because is not seen as respectable entertainment. However, we have begun to make inroads in important areas. My teacher, Morocco, had already begun performance in the main city's cultural institutions like Lincoln Center Dance Festival of the doors, the Museum of Natural History Parks and Recreation.

Despite its success, if there are still many places that closed the door in his face. Nobody had thought about the possibility of teaching dance classes in gyms, but aerobic became very popular.

The interior of the dance community itself? Well, the dominant style is American style discotheque East or America. It was a style that has evolved in the ethnic nightclubs in the 60 and 70 s. At that time, clubs were the melting pot of people from different countries of the Mediterranean and Arabic. For Therefore, there was a mix of dancers Greek, Turkish and Lebanese. Finally, the Americans began to dominate the field, so we've learned from observing all these people and, of course, to interpret things from their cultural perspective.

There were only four major schools of dance in the city at this time. Morocco Serena, Anahi and Sofian Ibrahim Farrah. The headquarters were still clubs and ethnic restaurants run by Lebanese general. However, there was a nightclub called Turkish Fazil, who has been a great asset to the dance community in New York. One thing that all clubs had at that time, what is missing now is that there were live bands, track dance or property designated stage and was a family atmosphere. I was fortunate to make my debut at the club Fazil. I have to dance twice before closing. Unfortunately, late 80's all the clubs started closing one after another as the housing prices and rents soared. Today we have many more facilities, but if we have at least one seal to dance, we consider lucky, and still compete with the customers and the wait staff. Back in early to mid 80's, when the dancer on the floor or stage, without the feet in a game, unless invited by the dancer, or wanted

end of it.

As the quality of the dance ….. Well, in many ways, the basic skill level is much higher now, although we still have to face the problem of demand six weeks they have learned from some who have seen a DVD. Much of what I've seen that in any way the culture of the Middle East, and certainly not at all what I saw when I visited Egypt three years later. It was a combination of false ideas in general that the shark is a legitimate form of dance and the overall poor quality of the dance that I decided to be myself a dancer. I wanted people to see beauty of this dance was therefore decided that the best way to do was show them, even if it did any ambition to make my life as a dancer, and certainly not as a teacher.

Dev – You mentioned Ibrahim Farah, a major schools of the time, Bobby Farha and the Near East Group Dance has claimed responsibility for preserving and presenting many elements of Oriental dance to Western audiences. Do you think some of them were Bobby Farah creations own?

Tarik – To be honest with you, I had never seen her dance company perform. I think the time came around, that could have been dissolved, so I really can not say how their material was authentic. However, all the dance companies that I knew, as Casbah had numbers that were the creations art of administration. Typically, were inspired by an idea or a folk dance. When this has been the case, is mentioned provided as such in the program.

Dev – At the ball the entire Middle Eastern world, men, women and children. But identified through my research is a negative attitude toward the artists Raqs Sharki men. Do you have an opinion on why this is a topic of debate?

Tarik – This is a simple question but the answer is very complex, so I hope you'll forgive me if a little long because I have to give some information to put in its proper context. Basically, the problem is fear. The fear of being misunderstood, maligned and misunderstood by the outside world. You may ask, why pay attention to what others think, but you have to understand Egypt and other countries in the region in terms of its historical relationship with the West. This relationship has been most often an antagonist for a long time. We can see the roots of the same during the growth of the Roman Empire in its conflict with Carthage and Egypt. In the Middle Ages, the Crusades and high in ages 18 and 19 to the present day colonialism and the wars in Afghanistan and Iraq. So there has been a long history of tensions between regions and a tendency for power Western and Oriental to describe aspects of their cultures in a negative image, whether religion, lifestyle or in this case, dance.

The question is its roots in the colonial experience of the past two centuries, when several European nations look to countries where the call control the Middle East for the sake of taking control their resources and trade routes. Of course, whenever a nation that commits an act of aggression against another, you should always have a reason to justify their actions. With For the European colonial powers, the reason has always been fleeing the natives themselves. Enslaved peoples were ever made to be intellectually and morally inferior Western powers and if the colonization was in reality an act of charity that the benefits of Western culture than were granted.

A form of superiority was moral was the contrast between East and West. The dancer has become the public image of femininity, by extension, East, Eastern League and a dichotomy was created. The West was the assertion of masculinity, of course, logic and laborious, while this was feminine, passive, lazy, emotional, sensual, attractive and accessible. And if in the minds of European, Middle Eastern dances and sex became a way they never had its own culture.

The Dancer SEX TEST LAPS

He had always been the tradition of dancers and artists, and West. However, the overwhelming majority of travel stories focuses on dancers professionals. Dance of the common people in the celebration was almost without exception, ignored. Similarly, was the dance of the common men and professional dancers. However, on the rare occasions when it is mentioned, as has always been part of impersonation and female homosexuality. Once again we see a situation where no Orientals are allowed to be equal to the EU. They must be diverted. So when we see a man dancing is always called, "He danced in women's fashion" or "who were dressed as the female half male and half, or were dressed in women …".

In truth, there were always dancers transvestites in these countries, and Europe, there was a tradition of singing transvestite Opera. However, in the case of opera, the singers were castrated to preserve a young soprano. In the East, dancers realized that women were or what we believe today transgender, or who played the role of women in a play, a tradition also has an agreement in Europe once was. So yes, these kinds of performers have existed, but not all men danced and sang in public dressed in women. However, this was overlooked and the existence of these dancers was taken out of context. Person-century Europe 15 have seen the men playing female roles in Shakespeare as evidence that English men were sexual deviants. Nobody would have thought that the existence of castrated men and children who dress as women sang in the opera is evidence of trends Sex European. Nor have agreed that all male singers were eunuchs. Why not was the same understanding with respect to the proposed Eastern dance and dancers? The reason is that truth does not lend itself to program the colonial era. Man of the East and, by extension, culture, should be regarded as brutal, stupid, immature and sexually uncontrollable. It has been shown to be nondegenerate only tend to ruin with women, but having into account the most abominable crime of sodomy. So it was believed that while in Europe, so weak nature at least had the decency to keep their crimes secreted, oriental, childish character openly ignore their degeneration, because I was too ignorant to be ashamed, like a child is ignorant public relief all sense of decorum. The presence of effeminate boys dance and the fact that the men danced in a "feminine" fashion was proof. It was part of a campaign propaganda to justify the amount they need these people were the saving grace of European culture and the state.

THE IMPACT ON THE PERCEPTION OF MEN DANCING IN EGYPT:

The result of this cultural bias on the part of Eastern societies have many were negative. You must understand that in these societies reputation a person is of utmost importance. Determines whether or not you can buy a respectable profession, marry into a good family, but you can live. Then be discussed, if not which can be devastating. The image of manhood Egyptian was slandered before the whole world. After being defeated and dominated by foreign powers and Christians no less, with memory of the Crusades still fresh in mind, calling into question his manhood was like putting salt on an open wound. The result was that in a few decades of British rule in the tradition of dancers who danced and sang at weddings, births and festivals throughout Egypt disappeared soon. When in the past, artists liked higher in some cases even more of the dancers, that Wee is now considered obsolete, backward and shameful. A new type of show to replace them. One that was modern, elegant and sophisticated. The age of the wife of Disco Dancer was born. And although the image of the dancer and nude midrift pure veils was inspired by the Orientalist fantasy East of femininity many kinds of Upper Egypt, who are now enrolled in the European world view and the taste was much better than the dancers Ghawazee rudimentary land and a powerful remedy for dancers to forget the shameful past.

Even after the British had been expelled from Egypt after the revolution, the sting of colonialism and slander of manhood was Egyptian and stays fresh even today. The fear of being perceived as gay or homosexual conduct is so encouraging strong that even if it is not uncommon to see men dance at weddings and social parties is strictly prohibited on stage. Today, the dancers nightclubs and the marriage must have all licenses and women that these permits are issued for belly dancing in public. In the theater of national and popular view dance companies, there is a strict policy that prohibits men dance with any body part except the hands and feet. This contrasts with the bar Egyptian men how to really dance in real life.

As a male belly dancer, my chances of return is very limited due to the attitude of fear and shame that exists in the Middle East with regard to the idea of the dancers, but have found bags of acceptance. The experience taught me that fear, I'm not sure that I inadvertently play into the stereotype of effeminate if I will accept Egypt or the Arab public in general. The costumes are a major problem. While the public Western mystical love of exotic bright sequins and pearls, the public in the East, too much in this man looks like an attempt to imitate a busy women. A jacket and pants with a simple decorating simple shirt is acceptable. Simple gallabeya also resumes with a scarf around the hips. This is the suit that Egypt modern eastern gate of the first professional dancer. In interviews, state clearly that if he had chosen to wear tight clothing that reveals that they have not been accepted and even with this award, he and other men who started to perform in Egypt are still not allowed to perform in cabarets of Cairo. Instead, they play in Sinai resorts of Sharm el-Sheikh and Dahab. The vast majority of people who watch their programs to enjoy their performance. They are accepted, like me, because they arise as men in dress and manners. Again and again, I had people tell me that what we appreciate about me is that when they see me dance, never forget that I am a man. And yes, if is in my place regularly in New York LeSouk or occasional shows I do in the Egyptian community in New Jersey where I live, my performance is appreciated. However, as my colleagues from Egypt, there are still segments of the community who have difficulty reaching the stereotypes and fear of the consequences.

On another front, while the State regulation prohibited companies have men to shake their hips on stage, popular singers have begun to mock the singer's convention in costume worthy dress that stands still. In this decade as a singer Hakim began its shows, demonstrating his dance moves. Sughayer Saad took things a step giant Moreover, not only showing his movements, but with the support of a number of children dancing, dressed innocently in dress shirt and pants links. They not have the flash and glare of the Oriental dancer and dance but as a group and as soloists, what they do is still very radical because the dance without complex, which is normal to the Egyptians, who brave the attitude of the last men who were ashamed of this aspect of their culture or sentiment that has been hidden from public view. Charged at the crowd at weddings and concerts, cymbals, shake the hips with abandon. This kind of thing was unthinkable 20 years ago. And because they dress like the average man was at a wedding, to escape punishment by the government. They may be able to ban the guys shaking their hips in dance companies, but are not equipped to work for weddings and social events in Egypt and that men can not dance.

Although things are changing to the point where the dancers are able to create a niche for themselves in the world of entertainment consumers of Cairo, enough people in positions of influence must be shown and convinced that a man can dance and not a reflection of their fears and what they find objectionable. They have artistic merit and entertainment beyond the average woman and dancer to be presented in a way that is worthy. If you dress and act weakly, have names that sound effeminate, then the doors are closed. It is quite possible that men have in sufficient conditions and with the right contacts to get there. After all, nobody, including myself could have predicted the phenomenon of Tito, but it happened. It was a monumental achievement, although limited to stations outside Cairo.

Dev – You mentioned about cultural distortion. Environment East is part of the new economic and cultural globalization, how do you see the general opinion is that public Raqs Sarqi the next 20 years, particularly in Egypt. I learned that belly dancing in the local club scene in Egypt has almost disappeared and only a few are in commercial establishments are aimed mainly at tourists.

Tarik – To be honest with you, I can not say. I can only speculate. I am encouraged by the fact that more people in the public about dance. People start taking it seriously in a way that does not 20 years. My hope is that this trend continue. We were also fortunate to have people who have developed high quality productions on stage. People are now seen as a true dance form.

I would hope more people continue to study and learn traditional dances and they remain high.

With regard to Egypt is concerned, you're right there has been a decline, but you also realize that it has always been dependent on tourism. It is simply not enough people in Egypt who could afford go to luxury nightclubs enough to keep it afloat. The brand was high in the late 60's and 70's, when tourism, especially from Arab states Gulf was at its peak. The number of boxes the night, as demand for this type of entertainment has been as high. Now things have changed. There are still dancing, but the days when we could see a star celebrity dance different every night of the week is over. Part of the reason is that there are so many different types of entertainment available today. The young generation wants to go to the big dance clubs like the American style Hard Rock Cafe and jumping to techno music all night. Another reason is due to increasing conservatism. Television stations do not show more dance programs, as friendly. That's because movies and television that the dancers as Nagwa, Souhair and Fifi became household names and, therefore, people wanted to see them in person. With the loss of this type of exposure, there is no longer the same incentive to spend hundred dollars to see a show, when half of this amount, you can go dancing with friends and socialize. They want to see and be seen. They want entertainment, not looking for one. So now as the economy took a downward turn and there is no chance of making the same money, fewer young women are motivated to enter the profession.

Perhaps at some point things will change and resurgence in popularity. However, think long term, which survives as a performing art in Egypt, which must go beyond mere nightclub entertainment experience. General public, have to identify with it and consider it a true expression of their culture. To do this, should be accessible to a larger population. For example, in the ballrooms Sharm El-Sheikh I saw was familiar and the dance itself it was presented as part of a people more. The coast was much more affordable for the average citizen and because they were outside outdoors, which have attracted people would not normally attend a nightclub. This is just my idea. What will happen in the real world? I will contact you in 20 years.

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