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“Hi Kajira!
I love that tribal and tribal fusion are becoming more and more popular. But it seems that lately in our area students are taking a 6 week tribal class and suddenly become a performing troupe! It really makes it look bad for the rest of us, like you don’t need the same training to perform tribal as you do other forms of belly dance! Why is this happening? - Michelle”
Dear Michelle,
Wow, if you ever figure out the answer to that question, let me know so we can band together and stop it! (*Sort of* giggling....)
I think this is a multi-part problem so will address all aspects I can think of that I feel may contribute to this type of unprofessional and often detrimental attitude, as well as some proactive ideas that may help make a difference.
But first, let me say that it doesn’t make the rest of us look bad as much as it makes *them* look bad. Take some heart in knowing that they will most likely not be hired back to any gig, nor interfere with us more serious types. In fact, they are usually here today and gone tomorrow.....
However, like weeds new ones pop up to take their place! And of course, this trend reflects on the style/s we love, too. That can affect our pay, or even whether we will be hired for a gig if the person doing the hiring has only seen *them* as “examples” of our “style”.
The number one reason this occurs - and I’m talkin’ way back, since the first “belly dance craze” in the U.S. in the ‘60's - is overeagerness caused by too much ego! (Which all of us performer type personalities must have to be good; and must also find ways to have a realistic “sounding board” for our efforts - can be video critiques of our own shows for more experienced dancers, competitions, asking honest friends that won’t just tell us what we want to hear, be in major shows at major belly dance events and gauge the audience’s reactions as well as watch and learn form others, taking non-stop classes and workshops from anyone qualified at our current level to teach us something, whether it is a style we ever intend to perform or not..... etc.). But of course that goes for us who really want to make a difference in the world through the vehicle of dance.
Please know this is not a new problem in our community, no matter what style. As long as there have been classes, this has occurred, if not by troupes then by soloists. Some students are simply not patient or caring enough about themselves and their own education to give a hoot. They’re going for the quick rush of excitement and not the long, steady haul to greatness in dance, nor are they trying to make a difference by contributing something to the world that is *unique*. They have no idea why they are dancing - I truly believe these folks haven’t taken it seriously enough to think that far ahead. They don’t know enough about dance in general, let alone know what it is they are “fusing” or what “tribe” they are attempting to be clones of (especially if dancing for under 2 years in general - and - um, yup, six weeks does seem to fit that category).
Therefore, I tend to not worry about them much, knowing that time has proven they will become quickly unknowns, or they will realize their early shortcomings and go back to school. These are the only choices/possibilities for them in my experience.
Though I do understand your fretting about this trend, as its impacts can be far-reaching in ways these “dancers” cannot fathom, nor care if they did. In fact, I bet none of them subscribe to any magazines, so I may be “preaching to the choir” here, unfortunately.
The personality types who do this type of dance crime tend to be very self-centered people, so the thought of the effect upon the rest of the dance community, audience or safety of others they may attempt to “teach” never enters their little minds.
Neither does all the work of gaining respect from the public - and opening the doors for our community to actually find work and places to perform ever cross their thoughts. I am not taking just tribal here, but the early fights for some modicum of respect the dancers of the ‘60's and ‘70's had to go through that we today can much too easily take for granted.
I really think these people have a self-confidence issue and probably need therapy.
I feel there is a *huge* difference between the healthy egos needed to become a good dancer described above and this type of unhealthy ego that does damage; unknowingly and/or uncaringly. The first type learns as much as possible in order to do good, while the second type learns as little as possible in order to get out there soon as possible, everyone else be damned. This type does damage (either to their own bodies and minds, our dance community as a whole and our audiences, and to any poor “students” who think they are “it” due to ignorance). It hurts my heart when teaching around the world to hear stories from sincere dancers who “are finally coming back to dance after a few years and a ‘bad experience’ with their first instructor!” It makes me wonder how many do *not* come back.
These “dancers” can easily undo - at least in their immediate community - all that work -
decades! - it took for dancers who did and do care in one fell swoop. I have heard tales of young “tribal or fusion dancers” as well as uncaring, ignorant “oriental dancers” who have no clue of the history of the dance in this country - well, or any other country for that matter - who have just popped into restaurants and offered to dance for free, taking away jobs from professionals who have been fighting for a working wage for longer than these dancers have been on the earth.
Some even use the same name or theme the previous hard-working pros used because these new upstarts are too unimaginative to think of anything new on their own. Some start events, or attempt to anyway, and always hire *your* teachers you brought to your last successful event, also because they are too unimaginative to think of any other teachers on their own. At least I hope it’s that benign.... some could be simply ripping off good ideas knowingly, which makes it all even harder to swallow.
What to do? Call them to have lunch for an “intervention” with a couple other pros in your area. It is possible they really *are just that ignorant* and may respond to mentoring. Tell them you and your friends will buy their lunch - since you are pros it is a business meeting tax write off and that gives them no excuses, such as crying poor. At lunch, be kind and civil as you would like to be treated, and maybe a glass of wine if they are over 21 would help their minds expand to be ready to “hear you” more if they are relaxed. After all, they may be suspicious as to why you are inviting them to lunch. Make them feel at ease and tell them you are here because you care about them and their future as dancers, as well as our community as a whole. Obviously this is true or you would not have written to me about this. Perhaps you will be holding a student hafla and can invite them to perform at a place where their level is welcome and supported - although you may be careful how you word that in this delicate situation.
Supply them with dance resources from which they can continue learning, such as recommended DVDs in their style of choice (come with lists of them, and ask your fellow caring pros who attend the luncheon to do so as well), how to subscribe to magazines such as Zaghareet!, how to become involved with the community by joining local chapters of MECDA and/or whatever you have where you are, about supporting workshops by visiting teachers in order to continue learning, about sites like www.shira.net where they can learn for months without leaving their chair, festivals where they can perform, take classes and most importantly, watch and gauge their skill amongst others of their style, and anything else you can think of that they may respond to.
That is my most caring and loving suggestion. If that fails, and if you really are bothered by their childish behavior, you could band together caring dancers and their families and supporters to picket the place/s they perform. Have hand-outs for anyone planning to go inside to inform the public of what they are about to see (fantasy dance). Do check with local law enforcement to see if you need a permit first if you care. You could “picket-and-run” but the owner of the premises may not be very happy, therefore you would be cutting your throat as well for the future unless done delicately and as a last resort.
Get your community organized and plan a counter initiative. If you belong to a local association, or MECDA, or something like that, you can write an article for their publications to alert the rest of your community to these transgressions. Go to (or send to) their venue if they have a regular one, or their agent, or whomever lets them dance publically in a professional environment; and supply clips of all the dancers who are professionals of any style in your area who feel the way you do to the owner of the venues on a DVD. Short clips of 30 seconds or less are legal as far as music and zero permission needed goes, and of course you will ask the dancers to supply you with their favorite parts of shows, so they will *know* what this is for: proper, supportive promo that shows each promoter the variety and skill under their noses they may not have been aware of. The entire montage should not take more than 3 minutes, as the busy restauranteur (or other hiring party) will not watch the whole thing if longer.
Once they do, however, they *will* be able to tell the difference, most restauranteurs know something about the dance (though, unfortunately again, many also do not care as long as the youngsters are cute, slim and bring in customers for free or at a much lower wage than the pros). But this is not necessarily true for places like city or county fairs, farmer’s markets, theater shows and private gigs. These people may want exactly the opposite of the restaurants.
Take the time to have a letter writing campaign with your professional and semi-professional students and friends from in and outside your classes. Have it sent around your community for others to sign, then post it, or take it to the place they stole a gig from, and ask if the owner would read it and even post it and to please take heed. Post this letter on chat boards and to your Internet lists. Send it to your local newspapers. Make the impostors known. Only then will they care enough to decide to go back to class, or drop out while they can gracefully.
I know these are aggressive tactics and may not be your style. Perhaps you can think of other ideas. But I feel that not addressing the problem in some public manner is part of the problem itself. I hear lots of complaints, but rarely do I hear a name associated with the perpetrators as we pros are sometimes just too dang polite. We have been taught to never “bad-mouth our competition” - which is true, but if it’s between us chickens it may be necessary on occasion if these Six Week Wonders are really doing damage to your community. (Remember, they are most likely doing so only on a local level. These “dancers” will not reach national or international status.)
But no matter where people live, I do hear these complaints. Maybe someone needs to make an example of others, but I am unsure of how not to damage one’s own rep while doing so unless you have very good proof to back you up (a.k.a. “a C.Y.A.” file). ;-D
I think the least damaging to us as caring, professional dancers would be on belly dance-specific chat rooms and sites, such as Tribe.net, and it will also have the farthest-reaching audience who may have other ideas or problems similar to yours in which you can help one another to find more solutions and chat with others who are having the same problem in their area. Plus, it is possible the Six Week Wonders may be on there already, or have friends on Tribe who will alert them to their transgressions and possibly open a dialog. (Though I may be too positive a thinker there!) But, if they are only interested in one form of our dance, then they are likely to be hiding in places where people can indulge in only that style, and for free....
The next part of my answer has to do with tribal and tribal fusion only. I feel this horrible disregard for others and themselves also comes from inability to find teachers who know what they are doing in this field to study with regularly in their area.
American Tribal Style (ATS) has been a part of the American Bellydance scene in its current structured group improvisational format since FatChanceBellyDance happened to be called by Dunia of Desert Dance Festival in San Jose, CA, a couple days before the event to fill-in an opening in the year 1990. Before that call, Carolena told me that she “never even knew there was a belly dance community!” They brought the house down and the rest is history!
Until the early-to-mid ‘90's Carolena was the only teacher of this style. Soon came her progeny, most notably being: (first) Paulette Rees-Denis now of Oregon’s Gypsy Caravan and second, Jill Parker, now of Ultra Gypsy Dance Theater Company. Next was lil’ ol’ me, who was already teaching “American Classical and Ethnic Styles” - what I was “brought up” on and what, in part, made me a major contributor to the original ATS form once I decided to focus my classes on ATS only. Coming from a varied dance background, in which all moves were done on both sides of the body equally, made my goal to develop the ATS I knew and loved for that, as well as several other additions over the years that are now unique to my format and those who have studied with me. I am the closest to the old ATS as done by FCBD of all their progeny (Paulette re-developed her entire format and Jill has gone into Dance Theater and no longer does ATS).
I, as all good teachers and dancers do, had always continued my studies with as many teachers as possible in all styles all along and am now currently learning Odissi dance, a classical form from the Temples of Orissa, India, here on Maui.
Therefore, it is extremely rare to find a teacher who still teaches “true tribal”, or the ATS style. For all this time, all people had to learn from was DVDs and the occasional workshop. However, I no longer feel it is that impossible to get good training personally. The three major teachers in the ATS field, Carolena, Paulette and I, have been traveling and teaching both nationally and internationally now for a few years. We all have DVDs and I have my book, The Tribal Bible, that all serious tribal dancers or their offspring such as fusion dancers, own and cherish for its rich information. The more we travel, the more the correct way to do ATS has gotten out.
In order to answer the hundreds of requests from hungry dancers in places other than CA, HI, or OR for further and deeper training, all three of us now offer teach training and certification courses to help keep this style pure as possible, and not just a bunch of “Tribal-Inspired Choreography” that was so popular before. (That often happens when students don’t take the time to learn how to improvise - they wear the costume elements and use the steps and music, but choreograph the entire show, which takes the heart and soul right out. Instead, results are that it looks mechanical and much less entertaining, since the interaction between the dancers is missing and the steps look repetitive since they are not reliant on the ever-changing spark of improv.)
Rewind to the years 2001 to 2002. A few dancers in the SF East Bay started experimenting with blending ATS dance with Oriental dance, and “Tribaret” was born. The early proponents of Tribaret actually *knew* how to do both ATS and Oriental dance. They were the first “Tribal Fusion” artists. They decided to do more intricate stuff than ATS could by using choreography and from that root came “Tribal Fusion”, since eventually some folks wanted to fuse ATS with hip-hop, club dancing, hula, flamenco, East Indian dance, modern dance and anything else that appealed to them, so they could not call themselves “Tribaret” since they weren’t fusing just tribal and cabaret anymore.
With this new form came many misunderstandings due to lack of knowledge for many of the dancers. Some were forced into teaching by peer pressure from friends or fans who saw them perform in local restaurants (Rachel Brice began that way, teaching for a few fans who insisted on it at Pixar Studios in Emeryville). Others decided they knew enough and just started teaching, whether ready or not.
Once that began, students who were enamored with this new style took classes only in that form, and sometimes from teachers who were not qualified to teach. Use of finger cymbals and outside study was either discouraged or simply not pursued. Further education into the world of Middle Eastern dance was deemed unnecessary.
Then, to me, it became like punk rock. I was deeply into the early, old-school punk rock scene on the late ‘70's and early ‘80's. The thing about punk rock that was so popular and so incredibly freeing and inspiring was that *anyone* could do it. It didn’t matter if you knew how to play as long as you had charisma. It was a fun, open-minded, friendly and supportive environment for kids who had no clue about music to give it a whirl. I believe it gave people confidence that they *could* become a musician if they worked at it a bit. And many became hugely successful, especially once they taught themselves how to play. Some are still around and popular, having had the ability to change with the times.
So, as with punk rock, this new genre under the umbrella term, “Tribal Fusion”, began with people who mostly had no prior study in any dance form, but who saw someone do something they liked and self-taught. Mostly, self-teaching dance is not as easy nor as codified as self-teaching music. Music - you can hear and feel it if you’re off. It’s really obvious. But not so obvious with the dance thing.
Now there are appallingly uneducated and downright dangerous “teachers” that call what they are doing “Tribal Fusion” because they like the look and aesthetics of ATS but don’t know how to do it, and the look and aesthetics of a few famous people who actually *know* what they are fusing, but their fans have no idea because they have never taken any classes other than a few workshops or perhaps dabbled with some DVDs. Students who go for “just the look” of a style often refuse other study as mentioned above, and lack the ability to self-correct or self-teach.
These people are dangerous because they seem to not care that they know nothing and have no clue what they are “fusing”, take no workshops or regular classes in any style (and anywhere other than on the West Coast it seems there are still zero-to-extremely few teachers who *do* know what the things/styles/elements they are fusing are and who can show you parts of each form). They are “dangerous” not only because they know not what they are doing nor fusing, but because they can injure poor, unsuspecting students because since they do not care, they do not take classes that can help them learn how to teach that are offered in their areas, such as at least a ballet class or modern class at their local JC, or workshops with good teachers who may pass by an area they can drive to within a day and stay overnight, who think they don’t have to learn anything else, will not study with a teacher who teaches anything other than what they want to do..... wow, the list goes on! I have seen this first-hand for 7 years now at my event, Tribal Fest, the first and largest all-tribal-themed event in the world. People who really need more study yet don’t take classes abound (and I offer more than 20 classes on various subjects to choose from, so it can’t be that there’s nothing at all of interest for them, it has to be their poor attitudes about learning).
Those, my dear Michelle, are the only reasons I can think of why such thoughtless transgressions occur in a time like the one in which we live, when there is SO MUCH info at their fingertips on the Internet, in these magazines, at festivals and events that the offenders do not care to learn.
With Aloha, Kajira Djoumahna
Winner of 2 awards for Favorite Instructor (IAMED & Zaghareet!’s Golden Belly Awards), 2 awards for Favorite Event and Promoter for Tribal Fest (Zaghareet!’s Golden Belly Awards - thanks to all of you readers!) and some honorary awards for DVD content and outstanding achievement. Author of the Tribal Bible, 2 instructional DVDs, producer of Tribal Fest and Maui Intensives, global workshop teacher and director of BlackSheep BellyDance CA & HI. www.BlackSheepBellyDance.com |