Midnight at the Crossroads: Has belly dance sold its soul? by Alia Thabit
(purchase it on amazon here)
This
intriguing work explores a wide range of ideas and issues about the history and
current practice of ‘Belly Dance’, more correctly translated from Arabic as
“Eastern Dance” ( Raqs Sharqi).
Author Alia Thabit is an educator,
dancer, artist, and musician who shares her story as a thinking dance artist in the
world of Eastern Dance. Her book, which includes more than 40 of her own charming
illustrations, sometimes reads like a memoir, other times like a friendly
conversation. Then it becomes call to arms for dancers to look again at what
brought them into the unique artistic world of Eastern Dance, and to perhaps
approach it differently.
An Arab-American from New York, Thabit
watched professional
dancers perform in the once thriving Arab nightclub scene in New York. She learned
how the dancers interacted with both the live musicians playing behind them as
well as the adoring patrons in the audience. The dancers were flirtatious, yes, but they also brought joy and happiness to the audience. Thabit studied with the leading lights of the dance world, and went on to perform and teach. As a flute and nay (Middle Eastern end-blown
flute) player, she delved into the music of the Arab world that creates the
drama and passion that fuels the dance.
Over the years, Thabit has thought
deeply about the essence of the dances of the Arab world, and about belly dance
in particular. Considering her art from
many angles, she sought out new teachers, new aspects of what makes this art
unique, and this book is a result of her years of work.
Like many
other seasoned performers, Thabit has grown frustrated with the world of belly
dance performance outside the Arab world.
Most all of the clubs in the U.S. closed after 9/11. With few venues in
which to perform, dancers and their students organized festivals and shows, typically
using recorded music. Choreographies supplanted improvisation. Competitions
became popular. Some performers veered away from the music of the Middle East
and used more amorphously ‘eastern’ sounding fusion music.
Thabit decries the loss of live
performances and the improvisational aspect of Eastern Dance. She asks the
dance community to step back, think about the dance they are performing, and
reach back to its roots to deepen their art. She explores how belly dance can
help heal trauma. She advocates for the work and ideas of Dunya McPherson of
Dancemeditation.
She invites the reader to explore improvisation, ‘slow movement’, and the benefits
of a regular practice. Most of all, she challenges practitioners to bring the
dance not only back to its improvisational roots, but to focus on its
celebratory and healing powers.
This book is rich and generous,
and must be savored. Each chapter could be a book in itself and should be read with
as much consideration as the author put into writing it. I can imagine Thabit
teaching workshops on some of the chapters. I would love to discuss the book’s
many assessments, assertions and ideas with my friends involved in the dance. The
book has many links for the reader to follow up on these possible paths of
exploration and deepening, and the author has added a page for additional resources
on her own website
aliathabit.com.
I recommend this book to anyone
involved in Eastern Dance – as a student, performer and/or teacher. The dance
form is at a crossroads now, and in Thabit’s view, dancers should
revive its old soul and put it to use for the good of humanity.
- Kay Hardy Campbell
