Sobering Snapshot of Present Day Egypt

Frequently, I get the sense that belly dancers think of Egypt as the "motherland"; a romanticized and revered locale where it all started. But is this rose-colored Western lens really accurate? For belly dancers outside of Egypt, how much do we actually know about current day Egypt?

I recently attended a panelist discussion hosted by Humanities Washington on the topic Unveiled: Feminism, Orientalism, and Perceptions of the Middle East. The panelist speakers were Yussef El Guindi, award-winning playwright of Threesome; and Sarah Eltantawi, professor Middle Eastern Studies and Comparative Religion at The Evergreen State College, with moderation by Zaki Barak Hamid, program director at Humanities Washington and Middle Eastern film instructor at Edmonds Community College.

From the discussion, with question and answer interaction from the audience, I was reminded of some sobering facts about Egypt today. Let's begin by painting a picture of what Egypt is currently looking like.

I think we are all aware that in 2011, Egypt had a revolution, lead primary by its young people, that resulting in the ousting of the dictator Mubarak, and the election of Muhammad Morsi, Morsi became Egypt's first ever democratically elected leader. However, Morsi was also a leading member of the Muslim Brotherhood, which lead to him promoting an agenda that did not correlate back to the original ideals of the revolution.  Instead, Morsi's actions involved granting himself almost unlimited power and silencing journalists and protesters, frequently with violence and prosecution. This unpopular agenda lead to the 2013 military coup lead by the Egyptian army chief General Abdel Fattah el-Sisi that removed President Morsi from power and suspended the Egyptian constitution. Leaving us where we find Egypt today.

What has all of this meant to Egyptians and in particular, Egyptian women?

All of the unrest has dealt a staggering blow to Egypt's main industry: tourism. With tourists opting out of visiting Egypt in record numbers, a $5 billion hole has been left in the economy, leading to widespread unemployment and poverty, and what many are calling the worst economic crisis since the 1930s. Many Egyptians are now financially and socially worse off than before the revolution. Some even turning to criminal acts to provide for their families, as documented in the Vice segment, Egyptian Tomb Raiders, which explores how the black market for plundering Egyptian antiquities has turned into a $3 billion-dollar industry.

Also up in record numbers, is sexual harassment and violence toward women. A recent study reported that 99.3% of Egyptian women report being sexually harassed.  Almost every single woman in the country. Which begs the question, why is the sheer fact of being in public space such an issue for so many Egyptian women? Many theories suggest a link between the frustration and anger felt toward the Egyptian government and economy, With no other outlets, this anger and frustration is being taken out on women. Many also hold the belief that this anger is further inflamed by Egyptians' unprecedented access to TV and social media which allows  them to see what the rest of the developing world has, but they themselves cannot attain. The stark contrast of the haves, and the have nots.

Oddly enough, this backlash against women comes at a time when Egypt is much more conservative than it was in the 1970s and 1980s. Twenty to 30 years ago, women who wore the hijab in Egypt were the minority, whereas in the current day, they vastly comprise the majority. This conservatism can also be seen in the realm of belly dance, as there have been increasing restrictions on dancers, such as having to cover the abdomen, as well as increased judgment and scorn of dancers.

Where did this increased conservatism come from? Much of it can be attributed to Egyptian men leaving the country for jobs in Iraq, and upon returning, carrying with them the strict conservative values and religion of that country and people.

So where does this leave Westerners who are outside looking in? Reading and hearing about the present day plight of the Egyptian people can elicit a wide range of responses as a Westerner. However, the panel discussion highlighted and questioned some of the common responses that occur when Westerners judge Eastern societies through an often distorted lens.

One of these common misconceptions that the panelist highlighted is the idea of cultural imperialism. Cultural imperialism is the idea that the West is "right" and the East is "wrong", and that the West has a duty as a more "advanced" culture to "fix" these other societies. That as Westerners, we somehow have the right to say what is correct and incorrect for another country or culture; that we get to be the judges and police of what is cultural authenticity and what needs to be rejected. One very common area where this attitude comes up is in the realm of women's attire. Westerners frequently assume that a woman wearing a hijab or niqab, or otherwise forced to dress conservatively, directly correlates to a lack of rights or equality for women, and thus that it's the West's imperative to change this. An example of this can be seen in France's fairly recent decision to outlaw the any sort of face covering in public.

The panelists proposed the idea that there is no direct correlation between a woman's attire and her rights. Instead, they argued that Westerners have a misconception that a women's dress equates directly to her freedom. The idea was proposed that a Western woman's right to wear reveling clothes does not make her equal or ensure that she has equal rights. And I would say this is a valid point, as even in the United States today where women can dress as revealing as they want, women are still not paid equal wages, and in recent years there has been a constant chipping away at a women's right to choose when and how she reproduces. Some would argue that the inverse is actually true, in that wearing a hijab or otherwise being more conservatively dressed, forces men to interact with women on a level that is not about physical aesthetic or attraction, but instead is about mutual humanity and respect. However, a further counterpoint has been made that a person's humanity and individuality disappear behind the hijab or niqab, allowing acts like sexual harassment and assault to proliferate because the woman has been de-personalized.

Overall, it's a highly complex situation. One that I certainly won't claim to have the answers to. During the panel discussion, Elantanwi gave her opinion that Egypt's current economic and gender issues cannot be resolved by external forces, that they have to be dealt with from the inside. Whatever the solution is, I hope that for the sake of not only Egyptian women, but women worldwide, that as a collective global race, we can move toward a place of equality, respect, stability, and opportunity for all.

Photo Credit: www.i24news.tv

Interview with Mish Mish - Part One

The Introduction
Mish Mish started taking belly dance lessons over 40 years ago and since then has introduced thousands of students to the music, dance, and culture of the Arab world.  She has had a long career dancing in Greek and Arab nightclubs, and has traveled to Egypt, Morocco, Turkey, and Iran.  She was one of the first dancers to bring nationally known dancers to Seattle, produce big belly dance shows, and to showcase folkloric dance to the general public.

In 1978, Mish Mish started a trouped based on Bal Anat, Jamila Salimpour's famous seminal group featuring live music and a male dancer.  Currently, she directs Karavans, a folkloric group, and Khan Il Kahlili, whose repertoire ranges from contemporary to fusion. 

With a background in theatrical design, Mish Mish will be hosting a belly dance makeover workshop at Zamani Culture House on April 14th.

The Interview
We sit down at the table in Mish's dining room.  The same dining room where, not only myself, but many other dancers as well, have spent countless hours rehearsing choreography.  An hour and half later, I have so many pages of notes from our chat, that I've actually split this post into two parts.

Alessandra: You've been in the belly dance business for quite a few years. What would you say are the biggest changes you've seen occurring with belly dance over time?
Mish: One of the big changes was the introduction of a more Egyptian style of dance to the West Coast by Shareen El Safy in the last 1970s.  Before that most of the dancers I worked with did a combination of Turkish, Greek, and Arabic style dance.  Plus we played finger cymbals during the whole dance and did a separate extended veil routine.  It was hard for me at first to switch from the five part routine using popular songs like "Mustapha" and "Hadouni" to the highly orchestrated, more sophisticated music composed especially for Egyptian dancers.  The posture and the focus were different.  The good thing about the Oriental style was it created better dancers overall because it forced them to work more on technique and to appreciate the Arab roots and emotion inherent in the dance.  The bad news was that in the beginning, so many dancers slavishly copied the style, that after awhile they all looked the same. 

Another major change came about in the 1980s when Fat Chance and the tribal style came along.  The good thing was it attracted a lot of new students and gave dancers who were not interested or comfortable with the cabaret style a place to dance.  The bad thing was it split the dance community and morphed into some pretty weird stuff.  I'm not against innovation or pushing the boundaries, as I remember when Tahia Alibeck was lambasted for dancing to Michael Jackson's "Beat It", but at what point does it cease to be belly dancing? 

Another thing that has affected dancers and teachers in the last few years is the economy, which has caused a big downturn in enrollment in classes, the number of workshops and shows, and the dancers interested in going to clubs.  When I first started taking lessons, I was out every weekend soaking up the local belly dance scene.  Plus, the popularity of Bollywood, burlesque, and zumba has attracted a lot of students who in the past might have taken belly dance classes.  The last major change I see is that the young, second generation Arabs are not frequenting the nightclubs.  They prefer DJs, hookah lounges, and the modern techno Arab music.  In the 1980s and 1990s, the Arab families would come out to the clubs to dance and socialize.  The result is fewer places to dance, and less exposure to the general public.

Alessandra:  Given the changes in demographics and the economy, what do you think a belly dancer needs to do to make it?
Mish: Network.  A dancer needs to network with club owners, musicians, and other dancers.  She needs to go out and be seen in the local community.  She needs to be willing to dance for free sometimes.  It's like an on-going "interview".  A dancer needs to look nice and have professional costumes. She should find new venues and set herself up as the main dancer there.  There will always be dancers that are more aggressive and know how to hustle, and therefore will be the dancers that get the most work.

Alessandra: Belly dance competitions have become increasingly popular. What's your take on them?
Mish: Sometimes I have a hard time with competitions because they are so subjective. I think for dancers considering entering a competition, a better perspective is to look at it as a way to challenge yourself, rather than setting out to win.  Remember that only a handful of judges have decided who is the winner.

Alessandra: A number of dancers, myself included, have gotten their start in your beginning belly dance classes.  When you're looking at a new student, how can you tell is she has potential as a dancer?
Mish: First and foremost, that she can follow and mimic my movements.  Having a background in other types of dance is always a big help.  And I need to see that the student likes to dance, and if she really enjoys herself in class that's a positive sign.  Plus if she's interested and continues to improve and take classes.

Alessandra: Moving on from student, what qualities do you think a dancer needs to have to be successful?
Mish: There are three things that make a great dancer: technique, appearance, and stage presence.  Your costume should fit and be flattering.  Technique only comes with practice, but it's not about showing people how many steps you know.  Relax.  Get into the feeling of the music, make it it look easy and the audience will enjoy what you are doing.  You don't have to have the perfect body or the latest costume if you have confidence and a strong stage presence.  I have seen some plus size dancers with great stage presence and technique.  I encourage dancers to develop a style of their own so they don't look like everyone else, and to create a stage persona they are comfortable with.  It can be a reflexion of you, or sometimes a totally different personality.  Elena, Bobby Farrah's protege, was like a quiet little moth offstage.  Onstage, she turned into a magnificent butterfly.  You can be cute, sexy, earthy, coy, or shy.  At Tamalyn Dallal and Malia's recent student night, I saw elegant, vampy, slinky and enigmatic dancers.  To be a good dancer, you need two of those three attributes.  To be a great dancer you need all three.  And I would say there's a certain charisma that makes up the last 10% that really tells you someone is a star. When you see it, you will know.  The hair on the back of your neck will stand up because it is so perfect and so amazing.  That's what it's all about. You will just know.

Alessandra: You mentioned being shy as a persona.  I identify with shy, and maybe surprisingly, I think a lot of dancers actually do.  How can you work this to your advantage?
Mish: You don't need to  look at the audience or be smiling a big smile or make eye contact all the time.  Sometimes try looking down, or at the isolations you are doing to draw your audience's attention to the movement.  Doing the inherently sexy moves of belly dance, but using facial expressions that are subtle and coy can be really effective.  Leila, the belly dancer originally from Washington state who has danced in Egypt the last few years, really perfected this technique.

That concludes part one of our interview.  Check back next week for part two, including some wild  stories on gigs and performing that you won't believe!