Egypt has long cultivated a culture that loves to dance, dating as far as its ancient pharaoh civilization. While the temples of Memphis have been home to some of the most historical forms of dancing, Egypt’s great dancers who emerged in the 30s and 40s took dance to a completely different level.
Dance was elevated to the forefront of the art scene and earned respect and approval from artists and audiences alike. Oriental dancing wasn’t just another art-form; it was a quintessential Egyptian tradition.
But as the 70s and 80s dawned on Egyptian stages, oriental dancing was slowly replaced by western-driven, commercialized acts, catering to a generation that hasn’t been subjected to the stunning styles of the likes of Tahia Carioca and Samia Gamal.
With an inherited passion for oriental dance, and a particular fondness for its Egyptian roots, Lebanese dancing sensation Suha Deeb is determined to revive this dying culture.
“I think it’s very sad that when I want to see pure Arabic dance I have to watch a black and white film, said Deeb, who is a third generation oriental dancer.
Deeb traces her passion for oriental dance to both her mother and grandmother. “We’ve always had very high opinion of dance and music in my family, so it was just natural for me to become a dancer, said Deeb. “It’s not like I woke up one day and decided that I was going to be an oriental dancer.
When Deeb realized that few are performing pure Arabic dance nowadays, she took it upon herself to go back to basics.
Deeb calls herself a “purist, refusing to integrate any western-influences in her choreography.
“It is not easy being a purist and be determined to remain a purist, and to remain true to my art and true to my principles, she said, referring to the direction in which mainstream dance has been heading in the past years.
“[The pure oriental dance scene] is a lonesome place, she added.
Much of what is taught and performed today in oriental dance schools internationally is ballet-influenced or jazz-based. “It is fine for people to be developing fusion and different mixes, but not at the expense of the real thing being lost and forgotten, she explained.
To Deeb, commercialization and globalization are the main causes of the uprooting of the essence of oriental dance that has been replaced by more sellable art.
The mainstream dance scene is presently centered on the looks of the artists rather than their skill. “There is nothing wrong with sex appeal in itself but when there’s a lack of skill, then it’s a problem, explained Deeb.
Consequently, young generations have become accustomed to pop art, one that is constantly changing, paying little attention to its roots. In turn, oriental dancing, in its purest form, is slowly losing its place in the dance scene.
“If you think about who the dominant names were 50 years ago and think of the dominant names now, it becomes clear that the essence of oriental art has disappeared.
None of the contemporary so-called oriental dancers hold a candle to the Golden Age giants, according to Deeb.
While authentic oriental dance has been disappearing throughout the last few decades, it hasn’t experienced this decline alone; “it [oriental dance] suffered along with all the oriental arts, Deeb says.
According to Deeb, celebrated forms of Arabic music such as tarab and sha’bi (folk) have also undergone sharp downturns since the 60s. In Egypt, the Golden Age began to disintegrate due to the political instability that followed, resulting in limited funding for artistic institutions and a general shift in people’s priorities in regard to the importance of preserving such art.
Deeb compares the rise of commercial art to the growing popularity of fast food restaurants. “If you apply capitalism to art, you find the same result: mass production and marketing techniques. Producers are no longer interested in investing in upcoming artists as they did in the days of Um Kolthoum
Deeb is not belittling pop culture, but fears that if everyone strives for quick fame, our identity will be forever lost.
Citing the legendary Carioca, whom she considers her idol, Deeb maintains that there is an audience out there that still appreciates authentic arts, but has simply been diverted by the overwhelming forces of mainstream.
“She [Carioca] was a lady when she danced, and this is why so many years after the height of her career people still respect her for her elegance and beautiful performances.
The decline in oriental art is evident across the region. In Lebanon, where Deeb is based, the younger generation is looking up to the West for new trends. While this phenomenon has not only affected the Lebanese youth, in Egypt, there is a lot more respect to history and heritage, according to Deeb.
But it’s not just that; oriental dancing has in the last couple of decades been shrouded with negativity. Some will attribute this change to the conservative wave that swept the country. Others blame the blatant sexual images that have become a fixture in music video channels.
Deeb believes people’s claims are far from being false-founded. “They are not being narrow-minded because all they see are suggestive poses and a loss of innocence.
“However, people immediately recognize when they come see me that they are watching a real artist, says Deeb, whose fan-base includes the older generation.
“It is really wonderful when you have the appreciation of older fans because they . appreciate what they are seeing, she continued.
“It is very important how you present yourself as an artist.
Deeb has given lectures and classes in venues worldwide, in countries like Chile, Lithuania and the US.
“Most of what’s being taught out there is western with an eastern twist, and this is precisely what she strives to correct.
She finds joy in performing, but to Deeb, teaching is more rewarding.
“Teaching plays the biggest role if we want to preserve that art . I love teaching. In Lebanon, she is currently giving private lessons to small groups.
Alongside her teaching schedule, Deeb is committed to her daily training. “I’m on my own and it’s tough being your own coach, because sometimes you can be very critical and not encouraging enough, she explained. In addition, she has recently taken up percussion classes in order to perfect her rhythmic sagat.
In Hamra, Lebanon, Deeb recently performed in the opening act of Musiqa 3 festival hosted by Irab, a non-profit organization that strives to revive oriental art in Lebanon.
Speaking of her future plans, Deeb fosters a desire to enter the mainstream, but is waiting for the right time. “I would love to enter the mainstream, but I would like to enter as Suha Deeb, not by compromising my artistic identity or my art.
Deeb believes that a true artist should wait for the right opportunity to present themselves to the audience; “you have to be selective as an artist, asking yourself what this means for me as an artist, and whether or not you will be proud of this work.
For more information on Suha Deeb, visit www.suhadeeb.com
