Thread: What makes this "Arabic Fusion?"

Like many newcomers, I'm trying to get a handle on the wide variety of labels and styles, mostly so I can understand what you all are talking about!

I love this clip of Viktoriya - any insight on why it's labeled Arabic Fusion? Is it the use of the tambourine? The music (which is Turkish, I gather)? The emphasis on movement and turns?

[ame=http://www.youtube.com/watch?v=nolLaUhx_SM]YouTube - Belly Dance fusion w/ Tambourine by Viktoriya Bellydance[/ame]

(When I went searching for more information, I was broken hearted to read about her car accident)

Hate to say it, but I think "fusion", at least in relation to belly dance, has become a catch all term that in many contexts just mens "not really, but kind of like."

I still think that was a beautiful dance, though. I actually have that DVD. Maybe I should drag it out again for another viewing.

First, that music is very much not Turkish.

Then, given that dancing with a tambourine (or, if the instrument were a riqq) is not among the common traditions in Middle Eastern dance, I think it is appropriate to use the term fusion to indicate that the dancer has combined different influences for the performance. I rather appreciate this choice.

Yes the music is not Turkish. It's a fusion remix of Oum Kalsoum's Ana Fintizarek. The costume is belly dance. But other than a few hip movements most of the dancing was not Arabic.

Thanks for that detail, Norma, on the song. This version is from Asena, and the track is actually labeled Asena, which made is why I thought it might be Turkish (Since Asena is Turkish). With some more muddled research I discovered the more proper name and that it was one of Om Kalthoum's songs - I should have waited and let you just tell me ;)

It's still all very confusing, though, and I'm not really any closer to understanding, I'm afraid. Of course, browsing YouTube comments is even more confusing than Bhuz, when people from different countries all seem to argue about what is or isn't bellydance strictly based on their culture and favorite dancer's interpretations. Fans of Egyptian dancers trash Turkish dancers, and vice versa. It's certainly an education in human nature, even if it isn't especially enlightening about dance!

So I'm trying to figure out the labels, while not getting hung up on them. If there's not another meaning to it, "Arabic Fusion" almost seems like a nice, politically correct solution that neatly avoids the "why even call it bellydance?" chorus, but acknowledges both the roots and the varied influences that come. And honestly, its a lovely, graceful term ... but I'm sure there's some major controversy about it that I'm just not running across yet

It's a very good question, and a tough one to answer since, as you said, dancers often disagree strongly on what is/is not bellydance to begin with, depending on their style, their personal dance heros, and their personal tolerance for experimentation.

Some dancers wouldn't have labeled this clip 'fusion' at all. Some dances that are far further from traditional are just called 'bellydance' at times.

Most of this clip could be called 'bellydance' I think. The obvious fusion elements, in my opinion, are the tambourine (riq), the high kicks (I think Randa does them, but they're not traditional) and -- to a lesser degree -- the series of chainé turns near the end -- turns are often present in bellydance, but those particular turns are very Western-feeling (ballroom/ballet/modern).

This performance seems to me to be heavily inspired by a similar dance by Amani of Lebanon:

[ame=http://www.youtube.com/watch?v=rDsuJ4XNxcI]YouTube - Amani from Lebanon**Tambourine**[/ame]

Yes on the dvd there was mention about Amani dancing with a tambourine.

I would say I see elements of ballet and jazz in the clip with the high kicks and jumps. And as someone mentioned, dancing with a tambourine is not traditional.

The term Arabic Fusion can't be used for many of us because it doesn't acknowledge the Turkish (among other) components that go into many forms.

If you look through the comments on youtube for this video you'll see it was originally called Gypsy Fusion but Viktoriya changed it because there were so many people bashing her for it not being a Romani dance. If you scroll through the comments you will see Viktoriya (shervik on youtube) defending her title of "Gypsy Fusion" eventually she just changed the title.

Originally Posted by SaskaK

Thanks for that detail, Norma, on the song. This version is from Asena, and the track is actually labeled Asena, which made is why I thought it might be Turkish (Since Asena is Turkish). With some more muddled research I discovered the more proper name and that it was one of Om Kalthoum's songs - I should have waited and let you just tell me ;)

Ah, yes, gotta love all those Turkish various artist compilations of mostly Arabic music with incorrect track names. It may really be Inta Omri, but they've decided it will market better if they call it "shake your pelvis".

It is no wonder its so hard to learn about Middle Eastern music.

Thanks for bearing with me as I sort this out - I read the comments, but didn't recognize Viktoriya's spelling of "Om Kolsum", and didn't notice there was more than one page of comments. D'oh! Between differences in spelling, renaming of tracks, and albums that credit dancers instead of musicians, no wonder I'm confused.

My first instinct was that "Arabic Fusion" was an attempt at a politically correct compromise - I'm kind of sad to see that's true. I was hoping there was another meaning to it, and that the fused "Arabic" elements were what I loved so much about this number - ah well!

Tamra, thanks for digging up that video of Amani and HubricRuzz, for confirming that she is mentioned on the DVD.

Kahaz, your comment made me rethink the term Arabic (again) from a modern perspective and realize that it is much, much too politically charged for common use.

I'm starting to think "fusion" is shorthand for "don't yell at me for including something you think is non-traditional in my dance"

To me that really seems odd (seeing how inventive Egyptian bellydancers are) but it's clear this dance form is in a period of both rapid change and codification, and I trust that the end result will be a positive that simultaneously strengthens, legitimizes, and frees this art form.

(and if anyone wants to sell their copy of this DVD, or can put me in touch with buying it directly so the purchase will help with her bills, please let me know)

See, I would have just called it a tambourine dance and been done with it, haha.

Originally Posted by SaskaK

I'm starting to think "fusion" is shorthand for "don't yell at me for including something you think is non-traditional in my dance"

This is exactly right. You'll be much less confused once you accept this. ..l;,

Here's the thing -- if an Arab dancer innovates within Arabic dance, then what s/he creates is still Arabic dance. (unless it's clearly fusion, of course, like when Nagwa Fouad did the twist)

If Americans, Japanese, Indians, Norwegians, Russians, Peruvians, etc. all innovate within Arabic dance, within just a few years, you'll have a whole bunch of dance styles all with different elements, accents, etc that will look nothing like each other and no one will be able to define the dance any more.

So when Arabs (or Turks) create new things, it's innovation (or novelty, if only one dancer does it and others don't pick it up).

Non-natives can certainly innovate, but we have to be more careful to make it clear to natives and other dancers that we KNOW that what we've done is not 'authentic', that it's innovation rather than a hopeless display of cluelessness. We also have to make it clear to our audiences, who may never have seen Arabic dancing before, that what they're seeing isn't 'pure.'

So, Amani can dance with a tambourine and it's clear that both she AND her audience know that she's just having a bit of playful fun. But if I dance with a tambourine and just call it 'bellydance' my audience could think that's what all bellydancers do, or that *I* think that's what all bellydancers do.

The word 'fusion' isn't a perfect choice, since often the only thing being 'fused' is imagination, but it's the word we're using these days.

This looks a lot like some very real spanish gypsy dance I've seen. I don't know if Romani is the same...?

Originally Posted by SaskaK

My first instinct was that "Arabic Fusion" was an attempt at a politically correct compromise - I'm kind of sad to see that's true. I was hoping there was another meaning to it, and that the fused "Arabic" elements were what I loved so much about this number - ah well!

<snip>

I'm starting to think "fusion" is shorthand for "don't yell at me for including something you think is non-traditional in my dance"

To me that really seems odd (seeing how inventive Egyptian bellydancers are) but it's clear this dance form is in a period of both rapid change and codification, and I trust that the end result will be a positive that simultaneously strengthens, legitimizes, and frees this art form.

Yeah, there is a strong trend toward p.c. in belly dance these days and a lot of confusion about what is "authentic" and what is "traditional," which is what sends some dancers away from trying to be Egyptian style or any "pure" style, and into the realms of so-called fusion. I always felt that I couldn't claim to be "Egyptian" even if I am dancing to Egyptian music, because "I yam what I yam" and all that, and Egyptian I am not. But some dancers from "over here" really do immerse themselves in a style like Egyptian or Turkish Oryantal and master it and present it extremely well.

American cabaret style dance, or Vintage American Orientale, or whatever is p.c. to call the style nowadays, has suffered a bit from a lack of self-confidence due to being labeled "not authentic" by dancers emulating the Egyptian style for the past 29 years or so. Egyptian style become popular in the early 80's here on the West Coast of the U.S. and a few years later American Tribal Style (ATS) became very popular. ATS really WAS a fusion style, and from its loins many variations of "Tribal Fusion" have been born.

There is a "tradition" of dancing with tambourines in the American cabaret style of dance, going back at least 30 years that I know of, and probably more, as there are photographs of dancers with tambourines from the Chicago World's Fair of 1893. It was often called "fantasy Gypsy" or "Gypsy" dance, mistakenly as we now know. Morocco says it is not a Rom dance. However, there is some evidence of Turkish dancers using tambourines in the past.

When I performed with a tambourine recently to 15th-century Sephardic music, I had the announcer describe my performance as "an interpretive dance," a term which avoids the fusion label as well as the incorrect "Gypsy" label but gives free rein to imagination and creativity. In my opinion I danced with a tambourine in my version of Vintage American style belly dance. Whew!

Originally Posted by dunyah

There is a "tradition" of dancing with tambourines in the American cabaret style of dance, going back at least 30 years that I know of, and probably more, as there are photographs of dancers with tambourines from the Chicago World's Fair of 1893. It was often called "fantasy Gypsy" or "Gypsy" dance, mistakenly as we now know. Morocco says it is not a Rom dance. However, there is some evidence of Turkish dancers using tambourines in the past.

When I performed with a tambourine recently to 15th-century Sephardic music, I had the announcer describe my performance as "an interpretive dance," a term which avoids the fusion label as well as the incorrect "Gypsy" label but gives free rein to imagination and creativity. In my opinion I danced with a tambourine in my version of Vintage American style belly dance. Whew!

I was under the belief that the Turkish tradition is more that cengi troupes included women who were skilled as musicians playing riqq and as dancers, but that they didn't do both at the same time. If my belief is wrong or if I am missing some cruical information, I'd be totally excited about a reference/picture learn more. Pretty please!!!! (I am a bit of a history geek when it comes to dance, and that's the kind of tidbit that I'll eat up with an oversized spoon.) Not trying to be obnoxious, I am honestly looking to be corrected and to learn more, I promise!

And, to add to the skirt/tambourine topic, I have seen how dancing with a tambourine is done by Russian Roma. They also dance with their huge skirts, which is really awesome.

Steffi, I am trying to remember where I saw the reference to Turkish tambourine dancers. If it comes back to me, I will post or pm you.

Oh, yes, please! Anything that feeds my geeky side is deeply appreciated, and especially when it comes to Turkish dancing. Btw - wish I had seen that performance, it sounds like something that I'd very much enjoy.

Originally Posted by steffib

Oh, yes, please! Anything that feeds my geeky side is deeply appreciated, and especially when it comes to Turkish dancing. Btw - wish I had seen that performance, it sounds like something that I'd very much enjoy.

[ame=http://www.youtube.com/watch?v=WEF6ORptx0k]YouTube - Dunyah's Tambourine & Candle Tray Dance[/ame]

I used to occassionally dance with a tambourine when I worked in the Greek clubs. We considered it to be more "gypsy".

Originally Posted by norma

I used to occassionally dance with a tambourine when I worked in the Greek clubs. We considered it to be more "gypsy".

But now the term "gypsy" is un-PC, so we can't use it any more. So what are we to call it now?

I like Arabic Fusion, though I also think Tambourine Dance would be suitable.

Originally Posted by dunyah

When I performed with a tambourine recently to 15th-century Sephardic music, I had the announcer describe my performance as "an interpretive dance," a term which avoids the fusion label as well as the incorrect "Gypsy" label but gives free rein to imagination and creativity.

"Interpretive Dance" is, IMO, a very accurate descriptor. I've seen many a wonderful "interpretive dance" done by big name (and lesser-known-but-still-great) dancers that was very heavily BD, but with *something* that made it not actual sharqi or oryental.

All good.

And, most importantly, all good only when properly identified.

Deborah