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 Lifting the Gender Veil – Belly dance a dance for men?

 By Ishtar 

Belly Dancing is an artistic method of physical expression. It is oppressive when people make an assumption that it should be confined to only one gender. The very concept of men performing belly dance can stir a controversy. Some men move in a powerful and masculine way, while others may dance like women.  Belly dance 

is a delightful experience that can easily be shared by both sexes. While elucidations may differ, there is no doubt that the dance men do, comes from the same desire to express the joy of life that also captivates female dancers.

The conventional history of belly dance often avoids an important area which has been consistently overlooked: the role of men. Male and transgendered belly dance has a long and complex history. Around the third century BC men castrated themselves to become priestesses for the goddess Cybele. Cashford and Baring (1993). These men would have danced and behaved like the female priestesses. Jamake Highwater argues that public dance in early Egypt, the Near East and Greece was predominantly performed by men and that this was an expression of religious ritual, (with the exclusion of  a minority of temple harlots). He goes on to suggest that in these times  “… dance became a profession consisting mainly of men.” Highwater (1978).

Early western Orientalists were often fooled into the illusion that dancing boys were really women. Frenchman, Gerard de Nerval  is quoted by Wendy Buonaventura as saying, the Middle Eastern  dancing boys “acceded all the roguish, lascivious postures, conceivable”. Describing his first glance of what he thought to be a Cairean Ghawazee (*1). He exclaims;

“Their hips shook with voluptuous movement; their form seemed bare under the muslin between the little jacket …two of them seemed particularly beautiful, their Arab eyes brightened with kohl, their cheeks lightly painted.” Buonaventura (1983). On closer observation he noticed one had a beard. He concluded : “It did not take me long to discover the dancing girls were, in point of fact all males.”

Male bellydance has a long history, but in contemporary culture belly dance seems like the archetypal dance for women. Some individuals do not feel comfortable with male sensual dance, especially if done in effeminate ways. I am a very liberal/left/ libertarian and I don’t think gender should stop one from engaging in activities traditionally thought of as masculine or feminine. 

 I have involved men in choreography for dance theatre pieces several times. These works are enriched with the yang energy of the male dancer. (For example in mythological dance works I have cast male dancers as the goddess consorts Hades and Tammuz). Jim Raven, a gay dancer trained by me, played a smouldering Hades in a dance drama ‘The myth of Persephone ‘. Ishtar Staunton (2011).

 I do not careabout the gender /sexuality of a dance teacher. It is their ability to teach and my good time that concerns me. Over the years I have attended workshops with the Egyptian Zaa Zaa Hassan and the Turkish Ozgan. I enjoy the extra push you seem to get from male teachers.

It is very romantic to see a man and woman dance together such as in Flamenco. I greatly enjoyed watching a show by the gorgeous oriental dancers, Horatio & Beata  Cifuentes- a husband and wife dance team. This was made extra special for me because my paternal grandmother and grandfather were professional dancers,who danced together.(My father also taught dance on cruise ships.)

Dance can be a gre at way for both men and women to explore opposite genders. My work running workshops and private sessions with male to female transsexuals, has shown me how the template of sensual belly dance can be used on anyone, regardless of biological gender. These TS women have benefited from belly dance sessions and have enjoyed improved body language and confidence, as well as an enhancement of feminine energy. 

In many cultures male transsexuals often dance and are accepted as professional performers and not a cause for concern.  However in some societies more rigid rules are attached to gender appropriateness. However some people find the sexuality of transgenderism confusing and upsetting. 

Women also  cross dress for some Middle Eastern dance. The Persian dance known as 'Baba Karam' sees women dress up as men, wearing a man's suit and hat and even some times a false moustache. They dance a masculine and humorous dance. Max Cluckman (1954) notes that in some cultures  women will perform warrior dances and dress as men. Behaviour believed to be “for the common good.”

“Indian mythology provides ample examples among deities and humans of androgynes, impersonations of the opposite sex and sex change.” O’Flaherty (1980).  In India those known as the Hijras are females born into a male body, they are often dancers and entertainers. Indians like the Native Americans and the Polynesians recognize a third sex - that is transgendered. This Third Sex, also known as Aravanis (in India), are often thought to possess special powers, allowing them to determine the fate of others. It was common in India for natural eunuchs to serve the temple and dance and dress as women. The Joggat  are men who serve the goddess Renuka. They are based in north-west  Karnataka. “Only the men learn the art of dancing… Joggati men switch to women’s dress – the sari, bodice and bangles.” Hanna (1988).

Many male Middle Eastern dancers use traditional forms to express masculine strength, sensuality, dexterity, martial ability and sexual power. The Egyptian 'Taktib'*2 dance features dancing with a stick. Which I think in Freudian terms is symbolic of the penis. Women also often copy this male style of dance. Many women prefer to do a feminised version. I myself have enjoyed the male version of this, dressed in the male costume. The amazing Fifi Abdu, does a very strong and assertive stick dance in a white galabia. I have taught this dance at workshops and women have said how invigorated and energized it has made them feel.

I have had close relationships with male-female transgendered people as well as female to male. It has made me realize that gender identity is a spectrum. Male to female transgendered individuals whom I have taught, have told me how happy they feel when they belly dance, because they feel the download of feminine energy and relax into feminine movement. I have also taught straight men to dance. These men just want the relaxing feeling of femininity and to be able to get closer and associate with beautiful women. Many of these men have given me feedback on how dance has made them more nurturing and relaxed. These men are brave and interesting because they are breaking taboos. Feminine dance for these men is healing.

Male belly dancers exist in most countries where there is belly dance. In Egypt, Tito Seif is the most famous. He has two wives and is famous for his excellent technique, passion and sparkling personality. Not all male belly dancers are heterosexual some are gay and others feel transgendered.  Turkey seems to have the most male dancers. Some are very skilled, but even here, male belly dance can be disapproved of, by more conservative members of the community. Today many Istanbul nightclubs feature young,  beautiful, male belly dancers. They are called 'Rakkas’. While conformists may object to male belly dancing, the practice actually has a very long history, particularly in Turkey. During the Ottoman era, becoming a dancer or a singer was strictly forbidden for Muslim women. JJahal (February 2002). Even non-Muslim rakkase had to wear headscarves and dress modestly. Forbidden by religion, female dancers hardly ever appeared in public.

 Inside the Harem women were dancing for each other. Eunuchs liked to dance for them also. ‘Eunuchs and slaves went through the swaying measure of the dance, hidden in  clouds of burning spices and perfume.’ Describes Edmoddo de Aamicis in Constantinople (1896). Eunuchs sometimes kept an Odalisque and sometimes a young boy. Croutier (1989).

With the absence of females in social and entertainment life, Ottoman men would watch male belly dancers. These men often wore women's clothes and allowed their hair to grow long. These dancing boys performed for wedding celebrations (the custom was for men and women to celebrate separately during feasts, festivals, and even in the presence of the sultans. They were often young boys who were sensuous, beautiful, effeminate, and dedicated to dance. Their dancing was sexual and mimicked female dancers.

 “The tradition of rakkas is a reflection of the solitary existence of the Ottoman male. The dancing boys were organized into different companies of entertainers called kol. By the mid 1600's, they were said to be about 3000 of these dancers in twelve companies. They were young boys who were sensuous, attractive, effeminate, and carefully trained in music and dance. Their dancing was sexually provocative and impersonated female dancers. It incorporated ladylike walking, finger snapping (a special two-handed finger snap), slow belly movements, suggestive gestures, acrobatics, and playing wooden clappers called Calpara or, in later times, metal cymbals called zills. The boys danced as long as they stayed good looking and could hide their beards. The dancing boys were an acceptable substitute for the prohibited women dancers. Some audience members were so enamoured with the koceks that they would write poetry about the male dancers.  Many times audiences lost control, shattering glasses, and even shouting and attacking the dancers.” JJahal, (February 2002.)

 The Koceks profession went out of style in the 1800's. It was officially banned in 1856 ( JJahal (February 2002), forcing many of the Koceks to emigrate to other countries such as Egypt. The Ghawazeh dancers were banned from Egypt in 1834, as a consequence of this the young boys originating from Constantinople took their place. “It was said that their performance was even more suggestive than the women’s.” Buonaventura (1983).

Modern Afghanistan is a place (like in the Ottoman times) where women are forced to behave in a inhibited and conservative way. It is no surprise then that Afghani men are entertained by dancing boys. Ghaith Abdul-Ahad explains that the procedure of taking young boys to perform as dancers at private parties is known as bacha bazi (literally, "boy for play") and is an Afghan tradition which has been in existence for a long time. Banned by the Taliban it has crept back and is now popular all over   Afghanistan especially in the cities, including the capital, Kabul. Male dancers are a common feature at weddings, especially in the north. 

Guardian journalist Ghaith Abdul-Ahad describes his encounter with Afghani dancing boys;

“Dressed in a flowing shirt and long, red skirt, with sherwal pants beneath and small silver bells fastened to hands and feet, the dancer stepped across the floor, face hidden behind a red scarf. The bells chimed with the movement, the skirt brushing past the watching men who stretched out their hands to touch it. The sitar player sang loudly, a love song about betrayal. The dancer twisted and sang hoarsely with him, arms thrown high above a lean, muscular body, moving faster and faster until finally the scarf dropped, revealing a handsome young man's face with traces of a moustache and beard. One of the men quickly grabbed the scarf and started sniffing it.” (Guardian  12/9/2009)

Male dancers who dance like women, have frequently been used by men for erotic arousal, especially in cultures where women dancing is perceived as shameful. When one views the way Islamic cultures deal with homosexuality, this practise seems hard to understand. I perform sometimes with the beautifully transgendered Lady Sian. I am always surprised at how so called straight guys want to take her home and enjoy watching her dance. Perhaps most men are bi-sexual or have an erotic response to men who look like women.

The very concept of men performing belly dance can stir a polemic reaction. When women dress/dance as men it seems to be far less upsetting and controversial than male belly dance. Perhaps men feel confused if they find the man attractive, although even some women don't like to watch a man belly dance. Many, including myself do! Gender or sexuality should not really be a concern when viewing any performer. If one is watching for artistic reasons, it is more important that the individual can dance well, with passion and artistry. Traditionally Middle Eastern men have always had their male dancers. However, they are often more generally acceptable if they dance in a folkloric style, wearing traditional masculine apparel. Gender prohibitions, homophobia and conservatism make some people uncomfortable with male sensual dance. However it is an ancient practise and goes on in different forms in many cultures.

Whether effeminate or masculine, gay or straight, male belly dance has a long history and adds a different dimension to belly dance that should be celebrated.    

Buonatevuora  Wendy  Belly dancing  Virago( 1983)

Alev Lytle Croutier Harem the world behind the veil Abbeville press  (1989)

Jamake Highwater Dance  A & W publishers inc (1978)

Judith Lynne Hanna Dance, Sex, and Gender: Signs of Identity, Dominance, Defiance, and Desire Chicago Press  (1988)

Baring and Cashford Myth of the Goddess  Arkana (1993)

http://www Guardian.dancing-boys-afghanistan 2009/sep/12/

http://www.jasminjahal.com/articles/02_02_male_belly_d.html

*1 Gypsy women who were professional belly dancers and entertainers working in Egypt.

*2 Also known as Raks el Assaya. It is a dance from Upper Egypt.