Redefining gender roles through oriental dance

By: Simba Russeau, NOW contributor

October 9, 2009

Alexandre Paulikevitch (Simba Russeau)

Alexandre Paulikevitch’s debut Oriental dance performance, “Mouhawala Oula,” was highly anticipated by those who have followed the artist’s evolution in creating this unique body of work, which challenges gender stereotypes.

“After living in Paris for six years, I made a decision to return to Lebanon in 2006 after the July war. At the time I had a choice to either continue living in exile in Europe, where there is access to the cultural arts, or return to my country of birth, where it is very difficult to work and organize in the artistic field due to lack of interest on the government level in artistic and cultural affairs,” the Lebanese dancer says.

“I wanted to create an identity for myself, and Lebanon’s cultural scene is ripe for developing pioneering work.”

“Mouhawala Oula” (“First Try”) opened to a packed crowd on Thursday night at the Sunflower Theatre in Tayouneh, Beirut. This solo piece, accompanied by a saxophonist, combined the contemporary and traditional in a way that has never been seen on a Beirut stage. Paulikevitch danced his traditional, flowing moves in a simple T-shirt and white trousers, eschewing the drag or stereotypical female “belly dancer” costume worn by other male oriental dancers.

Behind him, video of various locations in Lebanon and destruction in Beirut was projected on to a large screen to give the impression that he was dancing there. A videographer, who was on stage with Paulikevitch, filmed him, images that were also projected in real time for the audience.

Beyond “belly dance”

Oriental dance, or Raks Sharki, as it is known here, developed through the influence of various cultures, notably India. During the French colonial period, it became known as the “dance du ventre,” or the dance of the stomach because, according to Paulikevitch, this style of movement that focused on the belly and hips was new to the Europeans. In the 40s, when Egypt became open to the Western world and tourism increased, US society coined the term “belly dance,” he says.

“The term ‘belly dancing’ has a very vulgar and colonial nomination and in this exploration of the movement it was my aim to reject this portrayal,” Paulikevitch says. “Throughout the process I also started rejecting the use of oriental dance, because this label was also created by western societies and technically the orient is located in the Far East.”

During colonial times, oriental dance was viewed as a means of enticement and pleasure. Traditionally, its origins are related to goddess worship, stemming from fertility cults, scholars believe. These rituals included sacred dancing that focused on the abdomen. When men perform, they are often seen as imitating women, and society does not always accept this challenge to defined gender roles.

“I think a lot of people who attended the performance were shocked because he really would feel the music,” audience member Nassib El Khoury said after the show. “Some people even left the performance and there was laughter from the crowd because of our society, which still has trouble accepting men who can move like women.”

During the French orientalist period, various works about Arabs, Islam, and the Middle East – such as Gerard de Nerval’s Voyage in the Orient – contributed to painting a negative image of oriental dance. However, de Nerval was also the first to document the existence of men performing oriental dance, suggesting that historically it was not uncommon for men to perform this movement.

Most dances, especially in the Middle East, have roles for the different genders. Paulikevitch looks to emphasize technique and freedom of movement and self-expression, rather than gender.

Paulikevitch brought the emphasis back to the spiritual aspect of dance and the art of the technique during his performance Thursday night. Many in the audience were mesmerized by his grace and fluidity of movement.

Paulikevitch hopes to set the stage for other artists to pursue this kind of movement. Initially in pursuit of a career in contemporary dance at the University of Paris VIII, Paulikevitch fell in love with oriental dance and the opportunity to research and revisit his roots.

“The spiritual side of dance has always existed and I believe in creativity itself as being deeply spiritual,” Paulikevitch says. “It directly contrasts with the superficial notions that the dance is purely physical or that it is something women do to entice men. Oriental dance nourishes the body and the soul.”

Originally scheduled to run till Saturday, “Mouhawala Oula,” has been extended to Sunday October 11th due to popular demand.