| Years ago when I was in Egypt I was watching TV | | | | authenticity would only be a weak imitation of the |
| and was overjoyed to see belly dancing on many of | | | | original. |
| the channels. As I settled down and started watching | | | | So how can anyone teach another person’s style |
| the dancing something came to my mind. The dancer | | | | and not give them credit? I can remember when I |
| who I was watching was Nagua Fuad in all her glory. | | | | started out dancing it never occurred to me that I |
| She did an amazing dance but I could have sworn I | | | | would get to where my teacher was in a short |
| had seen it somewhere or something similar. I | | | | amount of time, I always knew my place. There are no |
| couldn’t put my finger on it so I kept on watching | | | | short cuts in this dance. You can’t take what you |
| her dance and than bingo; I remembered where I had | | | | don’t understand or appreciate. And to me taking |
| seen it. The performance Nagua Fuad had | | | | what you have not worked hard for is just plain |
| performed was from around the 60’s or early | | | | stealing. Could you imagine if you were at work and |
| 70’s and a performance that looked similar to hers | | | | someone went to your desk and said, “Sorry, |
| was done by a dancer in the later part of the | | | | I’m taking over your job”. It’s the same |
| 80’s. Since I was in my infancy of learning belly | | | | thing. |
| dancing at that point I didn’t know if it was ok to | | | | What about great ideas and themes for shows? |
| imitate a well known dancer. The moves were | | | | Have you ever had an idea for a show and mentioned |
| different but the essence of the dance was definitely | | | | it to another dancer and before you knew she put on |
| from Nagua Fuad. It made me wonder about | | | | a show with your idea? I had this done to me years |
| choreography and how our dance is actually passed | | | | ago and realized that I just plain and simple had a big |
| down from dancer to dancer. Taking it a few steps | | | | mouth. But what about the dancer that ran with my |
| further, I wondered about themes in dance, terminology, | | | | idea? What was her responsibility to me? She should |
| and styles. With so many dancers in our community, | | | | have asked me first, period! To me she stole my |
| how can we actually know if moves are original or | | | | intellectual property. When it comes to productions and |
| taken from other dancers? Does it matter? | | | | shows it is so important to respect the themes and |
| So I started to look at choreography taught in classes | | | | ideas that dancers come up with. If you know what |
| and workshops. With so many workshops happening | | | | a theme of a show is ahead of time respect the time |
| and so many wonderful dancers teaching their | | | | line before you do something similar. Last year I was |
| choreography should they copyright their moves? Is | | | | blessed to put together a theatrical production with a |
| this even possible, necessary or practical? Actually this | | | | close friend of mine Rozana Al Jinan called |
| would be futile because there is no way to really say | | | | “Cleopatra’s Court”. It was an achievement |
| a move is yours unless you are a famous dancer and | | | | that we are both still proud of today. As we were |
| your style is well known. What about the wonderful | | | | putting together ideas for the theatrical production |
| dancers that are not as well known who teach their | | | | which included the theme and name, this feeling of |
| choreography locally at workshops? What happens | | | | needing to protect our ideas came to the forefront. |
| when their choreography is taken and danced by | | | | The bottom line for both of us was to make it an |
| others? If a dancer takes a specific group of moves | | | | original production. We wanted to make sure that our |
| and performs them in a show out of state and than | | | | production was able to get off its feet before we |
| says they are hers there is no way for anyone to | | | | spread the word. But I have to tell you I was really |
| really know if they are or aren’t. So my question is, | | | | worried that someone would steal our idea. This |
| should we as dancers share the wealth of information | | | | means either two things, that I’m paranoid or that |
| and tell others our secrets? | | | | my dance community is the kind of community that |
| We are all inspired by various dancers and it is logical | | | | would run with the idea. So I decided to settle on being |
| to assume that most dancers go to workshops or | | | | paranoid. |
| take classes locally for the choreography. But what | | | | |
| happens when another dancer takes information | | | | Today’s dancers are in the age of instructional and |
| taught in a workshop or class and starts to teach and | | | | performance DVDs and most dancers find it easier to |
| dance it as her own with no credit given to the original | | | | purchase them and view them in the comfort of their |
| teacher? Is this stealing? So this led me to another | | | | own living room. We can also view old videos of |
| question regarding “borrowing” another | | | | famous dancers and combine many different styles. |
| dancer’s style of eloquence. Again if a dancer is | | | | So can a dancer today really say “This is my |
| not well known, her style of speaking along with her | | | | move”? I have an instructional DVD out and I |
| dance technique can be stolen. How would any dancer | | | | welcome dancers taking the combinations that I teach |
| prove this? With our dance community the way it is, | | | | and using them. I am the end product of many |
| this would be impossible. So the responsibility lies | | | | teachers so I feel I am sharing with dancers what my |
| within each dancer and her duty to give credit where | | | | teachers taught me. In a way we are all combinations |
| credit is due. There are two types of dancers; those | | | | of many teachers and dancers who influenced our |
| who want all the glory for themselves or those who | | | | careers. So when we learn a move and perform it |
| are willing to share the glory. You just have to figure | | | | we keep it alive. I guess what I’m getting at is that |
| out which one you are. | | | | when a seasoned dancer has nothing to prove in her |
| So let’s now talk about a topic that I find very | | | | dance but only to dance for the pure joy of it, she than |
| interesting, the workshop “double up.” How | | | | becomes the essence of the dance. This can’t |
| many event coordinators have had other dancers | | | | be copied or stolen because the essence of each |
| schedule in workshops on the same weekend? We | | | | dancer’s spirit is unique unto herself. If each dancer |
| have all heard stories about this happening. I can’t | | | | keeps her dance a definition of who she is than the |
| quite figure out how this happens. Do you know how | | | | bottom line is she won’t feel the need to take what |
| many days there are in a year? Think about it, it’s | | | | is not hers. So did it matter that I saw a performance |
| pretty dumb of a dancer that knows there’s a | | | | that was imitated, you be the judge. I saw two |
| workshop happening on a particular weekend to go | | | | slightly different versions of a similar choreography that |
| ahead and schedule in a workshop on that same | | | | both dancers performed well. And in the end they |
| weekend. Scheduled dates should be respected and | | | | were both memorable. I’d like to share a poem |
| honored because to me it’s like stealing money | | | | from Ruth St. Denis with you because in the end we |
| from your own community. | | | | never stop searching for the perfect dance, the |
| The Bottom line is that for a certain amount of | | | | perfect move or the perfect meaning to our creativity. |
| dancers this is a business. Yes, competitive but since | | | | The gods have |
| when are we just like Corporate America? | | | | meant that I should dance |
| I have friends who have taught for years and have | | | | And in some mystic |
| their own formula that they created throughout their | | | | hour I shall move to |
| dance years of trial and error. To understand this | | | | Unheard rhythms |
| right of passage takes years of training but | | | | of the cosmic orchestra |
| unfortunately for younger dancers this is a hard lesson | | | | Of heaven and you |
| for them to understand. This right of passage takes | | | | will know the language |
| years of training because the best way to teach is | | | | Of my wordless |
| through experience. You can give your students not | | | | poems and will come to me |
| only the choreography but the memory of performing | | | | For that is why I |
| it. This skill cannot be borrowed because the | | | | dance. |