When is Enough Enough or Even Too Much
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After its marginal beginnings in the 60’s and a slowly rising trend that finally gained enough momentum to be noticed, the evolution of Middle Eastern Dance outside of the Middle East was underway. In North America in the 70’s, it initially experienced a big explosion in popularity – It was new, it was different, it was mysterious and hinted at exotic far away places.
Then by the 80’s interest began to decrease, taking a back seat to other dance trends such as Salsa, African, Flamenco, Tango, Hip Hop and “River Dance” Celtic.
At the same time Europe, particularly Germany, caught the Oriental Fever and that triggered another major wave of popularity that could be felt back in North America by the early to mid 90’s.
Then the Far East, Australia and New Zealand got on the wild ride with the Fever spreading onto Eastern Europe, Mexico and South America by the new Millennium. These naturally sensual South Americans took to Bellydance like ducks to water. The Brazilian soap opera Clone, took the Bellydance explosion to yet another level. My original sponsors in Sao Paulo expanded from one to five major schools in the 18 short months between two of my engagements. And in the Buenos Aires “Encuentro”, I taught 700 students at one time in one room, a concept which was unheard of less than 15 years ago.
Now it is almost impossible NOT to find a belly dance class in even the most remote outposts of the planet. In the height of the 70’s, even large cities hosted perhaps one or two workshop and show events per year. These were major events with most of the community participating, taking the classes together and performing in the shows. In 1987 I taught the first workshop in Paris, which was a phenomenon that took quite some time to catch on, but now things are at a veritable fever pitch.
Through the 80’s and 90’s the scene evolved into a consistent and manageable 3 or 5 major events per year depending upon the local population and interest. Sponsors usually checked with each other to work out a realistic schedule that would enable the serious students to attend all the workshops and ensure the success of all the events.
Now the same city will have as many as 5-10 workshops per month, as well as a major Festival (or 3 or 4 or 5) per year. Students are frustrated. They have neither the time nor the funds to attend all, having to choose often between many excellent teachers. Even if they could attend everything, they could not possibly digest and assimilate this amount of material and information. Meanwhile, many sponsors are frustrated, unable to even schedule their events due to market overload, others canceling successful annual events and workshops because other newer sponsors are host competing events at the same time. Some of the longstanding sponsors who hosted one or two events per year to a faithful clientele have finally chosen to totally withdraw from the workshop market.
Then the Belly Dance Super Stars burst on the scene as the epitome of big business and mass marketing, hurning out show after show after show, with workshop after workshop after workshop along the tour trail, further straining an already supersaturated market.
In retrospect, when I went on my first major pilgrimage to Turkey, Lebanon, Egypt, Morocco and Tunisia, dance classes in any of these countries was an unheard of concept. To study in Egypt was to go to the many dinner clubs and nightclubs any night of the week and see the stars performing with their orchestras. After some patience and perseverance it was possible to attend rehearsal of some professional folkloric groups that accompanied the oriental stars in the clubs. The other option was to trek around to villages and meet and dance with the locals such as the Mazin Ghawazee of Upper Egypt, or attend a major folk festival such as the Marrakech Festival in Morocco or The Carthage Festival in Tunisia, or even to stumble across regional student folk festivals in Turkey or local festivities and celebrations or weddings.
Now since the past 8 years, major festivals are held in Egypt (there were actually two during the same week this year in Cairo), Lebanon, Israel, and Morocco are massive events, with foreign students from all points of the globe making the pilgrimages to immerse themselves in a week of classes, performances and other events. I would not even be able to count or keep track of the Festivals sweeping North and South America, Europe The Far East and down under.
Not to mention all the contests. I would not even be able to guess how many are held on an annual basis in the US alone.
There is a general tendency in our culture to believe that more is better and growth is progress. I think that we are all quite aware of the world wide consequences of uncontrolled, unsustainable growth. Our dance is no exception to this rule. Even the most enthusiastic and independently wealthy of belly dance addicts would not be able to support the current frenzy of activity and events for any length of time. To be sustainable or not sustainable – that is the question!
So now what do we do to make all this action manageable and all this progress and growth sustainable?
Let’s consider working together with one another, plan realistic schedules to ensure the success of all the events today and in the future. This will allow students the opportunity to learn, enjoy, and assimilate their lessons as they savour the many benefits of this unique and valued art form. This will allow the instructors, artists and sponsors to succeed, thrive and continue. After all, we all love it! That’s why its continued success and prosperity should be of major importance to each and every one of us. If not, then we better think about the consequences of when is enough too much!