Notes on the Sex Appeal of Belly Dancing (With Reference to the Case of Johara)

Ekaterina Andreeva (aka Johara)
Seems like a nice girl ...

I have to admit that, unlike Flaubert, I'm not a great fan of Eastern dance - or, as it is commonly known, belly dancing [1]. It's too obscenely sensual for my tastes I'm afraid and always makes me think of that old expression about jelly and jam.

Having said that, I quite like the costumes that some of the young women wear [2] and have no objection to them wiggling, wriggling and jiggling across a dance floor in order to earn a living if that's what they want to do. It clearly requires skill and discipline and performers deserve to be recognised as professional artistes continuing a long tradition of shimmy and shake.       

Although this style of dancing is found across the Arab world, Egypt has a special claim to be the home of belly dancing and the modern form (and modern outfits) originated in the nightclubs of Cairo. Many of the performers, however, are non-native; despite concerns that foreign-born dancers lack authenticity and didn't fully appreciate the folk traditions associated with the dance.

Unfortunately, as a more conservative form of Islam has taken hold across the Middle East in the contemporary period, dancers - as well as other female performers, including singers and actresses - have increasingly been villified by the authorities on the grounds that their immodest displays of flesh are haram.

In Egypt, for example, there are strict laws in place governing what dancers can and cannot wear; can and cannot do. Whether they wear a traditional bedlah or a more modern dress design with mesh-filled cutouts, is up to them. But they must cover their lower bodies, breasts and stomachs and retain their modesty (including modesty of movement and gesture) at all times.

Many dancers in Cairo ignore these rules, however, and they are rarely enforced. Having said that, there are multiple instances of foreign dancers being arrested - which brings us to the case of Russian-born Ekaterina Andreeva, known by the stage name Johara, meaning Jewel, who has been sentenced to a year behind bars in an Egyptian jail after she was filmed giving a performance which, the authorities claim, incited debauchery.

Not only was she said to be working without a licence, but, worse, she was clearly dancing without underwear! The ruling follows a video clip of her performance - on a boat sailing along the Nile - going viral and gaining her a large global following on social media: click here.         

Obviously, she's expected to appeal the sentence. And obviously I hope Miss Andreeva's conviction will be quashed. Though, equally obvious, is the fact that her performance is sexually provocative - what would be the point of belly dancing if it were not erotically charged? 

Not that there's anything wrong with that ... Indeed, I'm tempted to remind readers of Lawrence's view that sex and beauty are essentially one and the same thing, like flame and fire: "If you hate sex you hate beauty. If you love living beauty, you have a reverence for sex." [3] 

The greatest disaster that can befall any civilisation is a morbid fear of the body, its forces, its flows, its mysterious openings, and its desires. For this causes the instinctive-intuitive life within us to slowly atrophy. What we call sex appeal is really just the communicating of a sense of beauty and it will always invoke an answer of some kind:    

"It may only kindle a sense of warmth and optimism. Then you say: I like that girl, she's a real good sort. It may kindle a glow, that makes the world look kindlier, and life feel better. Then you say: She's an attractive woman, by Jove, I like her. Or she may rouse a flame that lights up her own face first, before it lights up the universe. Then you say: She's a lovely woman. She looks lovely to me. Let's say no more."

I'll let readers decide for themselves what level of heat Miss Andreeva produces and whether the fire of sex that she rouses is pure and fine, or something of which we should be ashamed ... 

Notes

[1] The term, belly dance, is a translation of the French danse du ventre, coined by an art critic in response to a controversial painting by Jean-Léon Gérôme entitled La danse de l'almée (1863). The picture is a classic example of pervy Orientalism, depicting a woman dancing, accompanied by musicians, before an audience of soldiers sitting with their legs spread in a fantasy setting. Eventually, this term came to be used for all dances of Middle Eastern origin in which a woman displayed her charms. It first entered into English in 1889.

[2] The costume most commonly associated with belly dance is the bedlah, which typically includes a fitted top or bra, a hip belt, and a full-length skirt or harem pants. The bra and belt are often decorated with beads, sequins, crystals, or coins. The modern bedlah style which originated in the early twentieth-century, is an amusing example of (Arabic) life imitating (Western) art, in as much as it took inspiration from Hollywood. I suspect my own forndness for the harem-look is due to childhood memories of Barbara Eden in I dream of Jeannie. 

[3] D. H. Lawrence, 'Sex Appeal', in Late Essays and Articles, ed. James T. Boulton, (Cambridge University Press, 2004), lines quoted are on pp. 145 and 147. 

It's important to note that Lawrence doesn't always approve of women exploiting their sex appeal: "There is, of course, the other side of sex appeal - it can be the destruction of the one appealed to. When a woman starts using her sex appeal for her own advantage, it is usually a bad moment for some poor devil." [148] Such thinking - clearly sexist in character - is unfortunate; as is his branding of these women as prostitutes and vamps.     

See also 'Pornography and Obscenity' in the above collection of essays and articles, where Lawrence develops his notion of sex appeal and admits "No matter how hard we may pretend otherwise, most of us rather like a moderate rousing of our sex. It warms us, stimulates us like sunshine on a grey day." [239] Those who deny this and are genuinely repelled by even the simplest and most natural stirring of sexual feeling, are, he says, perverts and puritans "who have fallen into hatred of their fellow men" [239]. That nicely sums up the theocratic morons who have brought the case against Miss Andreeva. 
 
To watch Johara doing her thing in another video on YouTube, click here.

This post is dedicated to my favourite Arab girl about town, Nahla Al-Ageli, creator and writer of the wonderful online journal Nahla Ink.

Pop Art from North Africa (with Images of Marilyn Veiled and Unveiled)

Libyan Marilyn 

Alla Abudabbus

This just in from dear friend and fellow blogger, Nahla Al-Ageli, over at Nahla Ink (a site that chronicles the adventures of an independent Arab woman and freelance journalist living in London, with particular reference to events happening within the world of Arab art and culture) ...

September 21st sees the launch of the Pop Art from North Africa exhibition at the P21 Gallery (London), featuring work by fifteen artists from the region, who have all been inspired by a movement that first emerged in Britain and the United States in the mid-late 1950s, but which has since expanded into a global phenomenon, challenging the art traditions of numerous countries with imagery drawn from the worlds of mass media, commerce, and popular culture.

The exhibition, curated by Najlaa El-Ageli and Toufik Doubi, will examine how Pop Art's postmodern irony plays out within the social, political and cultural environments unique to North Africa. For more details, please go to the P21 Gallery website by clicking here, or visit nahlaink.com

Personally, I would think this exhibition worth attending if only to see the beautiful image by Alla Abudabbus shown above.

Of course, it's not the first time that Marilyn has been depicted pop art style in a veil; the Iranian artist, Afshan Ketabchi, produced her work Marilyn Monroe Undercover in 2008, for example.

But I think it's my favourite such picture, reminding me as it does of Douglas Kirkland's famous series of photographs of Marilyn from 1961, in which she poses naked in a white sheet and shows that - veiled or unveiled - she was one of the most fascinating women of the twentieth century ...

Revolutions are so vieux jeu

Image by party9999999 on deviantart.com

Having just watched the latest depressing news out of Libya, I can only send a message of sympathy and solidarity to my friend, the London-based freelance journalist and blog editor, Nahla Al-Ageli. She had high hopes of the Arab Spring and for a post-Gadaffi Libya. Indeed, despite the armed gangs of militiamen and the rising threat posed by Al-Qaeda, she still has what we might term revolutionary faith.      

For better or for worse, this is something I lost long ago, thanks to Nietzsche. For Nietzsche encourages his readers to reject notions of political redemption and belief in great events. Instead, he advocates a politics of pure resistance based upon opposition to all forms of idolatry (including state idolatry) and a refusal to trust those who promise salvation. By learning how to laugh at our own seriousness and ambition - as well as those who hold positions of leadership and authority - we may be able to offer at least a temporary defense against the desire for some kind of final solution to life's complexity, or the dream of a New Jerusalem.  

In an interesting passage of Human, All Too Human, Nietzsche warns against revolutionaries who, in an attempt to garner public support, "transform their principles into great al fresco stupidities in order that they might paint them on the wall" [I. 8. 438]. He also argues that whilst political violence can be the source of stimulation via the resurrection of the most savage energies, it can do no more than this. For change of a truly important nature requires something else; not something bigger or more extreme, but, on the contrary, small doses of difference administered homeopathically. Nietzsche writes:

"If a change is to be as profound as it can be, the means to it must be given in the smallest doses but unremittingly over long periods of time! Can what is great be created at a single stroke? So let us take care not to exchange the state of morality to which we are accustomed for a new evaluation of things head over heels and amid acts of violence ..." [Daybreak, V. 534].

This crucially important passage concludes with a series of remarks on the French Revolution, but which might just as easily be read in relation to the recent upheavals in Libya and elsewhere: 

"It is now ... beginning to become apparent that the most recent attempt at a great change in evaluations, and that in a political field – the ‘Great Revolution’ – was nothing more than a pathetic and bloody piece of quackery which knew how, through the production of sudden crises, to inspire ... the hope of a sudden recovery – and which therewith made all political invalids up to the present moment impatient and dangerous." [Ibid.]

As Voltaire reminds us: Quand la populace se mêle de raisonner, tout est perdu. And this is particularly true when large sections of the public are infected not only with political idealism, but religious mania.