"The Ballet-fication of Belly Dance" and My Experience of Ballet with Belly Dance

by Jessica Perelson

I read The Ballet-fication of Belly Dance (be sure to rea comments on the bottom to see multiple people's thoughts on the subject) on Gilded Serpent a while ago and have been mulling it over in my mind for weeks. Do I share or not? I think it's a topic that could spark argument and I don't want fighting (yes, I planned my previous blog post to go first so try and curb any nastiness that may come from this).

While I understand where Sausan is coming from and her concerns of "tainting" pure Egyptian dance, I don't agree with her. Perhaps it's because I believe that nothing exists in isolation and therefor nothing is pure (except maybe the Sentinelese). Perhaps this is because I am an english speaking European mongrel living in South Africa. Having grown up through Apartheid and the New South Africa, I've seen how mixing and sharing with others creates better people, and leads to peace, acceptance and love, as opposed to the hatred and fear that comes from separation. So why can't that be applied to art?

As Tiazza stated in her vlog Racism, Xenophobia and Belly Dance:

There's something beautiful about borrowing from different cultures and borrowing from different styles around the world to create any form arts. Whether it's dance, whether it's painting, whether it's acting, whatever it is. ...Any art doesn't grow and doesn't survive in history unless it gets itself, you know, moving forward and one of the ways we more forward is by borrowing from different cultures."

But that's not really what I want to write about today. I don't really want to debate puritanism versus borrowing versus fusion ... I want to tell you how ballet has both hindered and helped my journey in belly dance.

Hindered

  • Turn out part 1: It took months for me to get out of the practice of turning out. I felt like I was standing pigeon toed, even though I actually still had a slight turn out. I still have a bit of a turn out when I dance, but I've embraced it as part of my style (remember I'm primarily an (Egyptian) fusion dancer, although I spend most of my time researching and trying to learn various Egyptian styles)

  • Turn out part 2: My great ballet turn out has left me with a few other problems. 1) Strong outer thighs and weak inner thighs. I struggle to descend gracefully to do floor work, but can do a ballet grande plie no problem. This has also affected my shimmy. 2) Lower back and hip injuries. Full ballet turn out is not a natural position at all and then you have to lift and swing your legs around ... this means chronic injury to your lower back and hips.

  • "Too classical arms": I received some criticism after I danced a shaabi that my arms were too classical. I do have very balletic arms. They aren't so free. They are still naturally return to classical arm positions.

  • Bad body image: I was always too fat. I was constantly asked if I was on a diet, eating vegetables or only junk, etc... I was eating healthy balanced meals (both my sisters and myself were dancers and so my mom ensured we ate good healthy meals with only the occasional treat - Saturday Sweets Day). I was thin. Just not thin enough for ballet. It definitely had a huge psychological affect on me and I suffer from poor body image and self-worth.

Helped

  • Stage presence: I learnt how to walk on stage and present myself. I will never forget the day I got it right. I was about 11yrs old and I was dancing a mazurka in local competition. My sister had given me extra training because she knew I could win if I had the stage presence require for this dance. I did't win but I did get 95% and a special mention. After that I was able to command attention when performing.

  • Posture: Ballet taught me how to lift up and hold myself beautifully (this also helps with the stage presence).

  • Graceful arms: Yes, the classical arms can be a problem as I mentioned above, but it can also be very useful. I have good lines (generally) and can move with grace.

  • Foot patterns: Ballet drills foot patterns. I practiced every kind of pas de bourree under the sun and mixed combinations thereof. It means that when it comes to foot patterns, I don't struggle at all.

  • How to practice: Practice is not just knowing the choreography. It's drilling the tiny elements. It's not just "I'm doing it". It's "I'm working hard at using the correct muscles, hitting all the correct points and beats, and it looks and feels right". I know far too many people who believe if they know the choreography then they don't need to practice. It's not all about choreography. Technique is very important.

  • Remembering choreography: I tend to remember choreographies more easily than other dancers with no other dance experience. I've noticed if the dancer has previously done other forms of dance training, they are more body aware and remember combinations better. I'm sure if someone has been doing belly dance for many years they will also acquire this ability, but for me I have to attribute my ballet experience.

You don't have to "cross train", but it can help you in areas of your dance, like strengthening and flexibility. You don't have to fuse styles (you can if you want). You can just use it as a training tool rather than a stylistic flare. Do whatever makes you comfortable, just be sure to do so respectfully.