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AN AMERICAN BELLY DANCER by DEVON RYAN POLYNONE A

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AN AMERICAN BELLY DANCER by DEVON RYAN POLYNONE A AN AMERICAN BELLY DANCER by DEVON RYAN POLYNONE A THESIS Presented to the Department of Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Fine Arts June 2012 THESIS APPROVAL PAGE Student: Devon Ryan Polynone Title: An American Belly Dancer This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Fine Arts degree in the Department of Dance by: Steven Chatfield Chairperson Shannon Mockli Member Christian Cherry Member and Kimberly Andrews Espy Vice President for Research & Innovation/Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2012 ii © 2012 Devon Ryan Polynone iii THESIS ABSTRACT Devon Ryan Polynone Master of Fine Arts Department of Dance June 2012 Title: An American Belly Dancer The purpose of this research was to investigate the creative process of six professional American Belly Dancers: Shannon Conklin, Elena Villa, Lila McDaniel, TC Skinner, Manny Garcia, and Cera Byer. I took a class with each dancer, witnessed each dancer creating movement, and witnessed each dancer perform. After each experience I held discussions with each dancer. I learned that, for some of the dancers, music is everything, but for others, Belly Dance can be performed to any sound. For some of the dancers, Belly Dance is highly codified, and for others it is experimental. For some of the dancers, Belly Dance is a solo endeavor, but for others, dancing with a troupe is essential. Following these findings, I created six movement explorations – one based on each professional Belly Dancer in my study. Supplemental video footage of these explorations can be viewed as a companion to this written document. iv CURRICULUM VITAE NAME OF AUTHOR: Devon Ryan Polynone GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene Ottawa University, Phoenix, Arizona Scottsdale Community College, Scottsdale, Arizona DEGREES AWARDED: Master of Fine Arts, Dance, 2012, University of Oregon Graduate Certificate, Women’s and Gender Studies, 2012, University of Oregon Bachelor of Fine Arts, Dance Education, 2009, Ottawa University Associate of Fine Arts, 2006, Scottsdale Community College AREAS OF SPECIAL INTEREST: American Belly Dance Women’s and Gender Studies PROFESSIONAL EXPERIENCE: Graduate Teaching Fellow, University of Oregon, 2012 – 2012 v ACKNOWLEDGMENTS I wish to thank my chair, Steven Chatfield for believing in this project from day one, and for encouraging me and mentoring me throughout both the choreographic and writing processes. I wish to extend sincere thanks to the professional Belly Dancers who worked with me for this project: Shannon Conklin, Elena Villa, Lila McDaniel, TC Skinner, Manny Garcia, and Cera Byer. Because of your dedication to the art form of Belly Dance, I not only was able to pursue this project, but have been forever changed as a dancer and choreographer. Much love and thanks to my sisters in dance: Siobhan “Ruby” McConnell, Rachel Peterson, Tatianna Young, Anna Weaver, Haley Wilson, Adaora Nkwonta, and Sara Urzua for your hard work and dedication to the movement explorations that are at the heart of this thesis. Also, thanks to my thesis committee members: Shannon Mockli and Christian Cherry for encouraging me to prove through rigor that Belly Dance is an art form worthy of scholarly research. vi Dedicated to my husband, Jeremiah Paul Polynone and my parents: Joe and Katherine (aka: "Nurse Kitty”) Schermick, my brother Drew, and to all of the people in the world who are baring their bellies and shaking their hips in spite of and in contrast to the patriarchal society that we currently live in. vii TABLE OF CONTENTS Chapter Page I. INTRODUCTION ................................................................................................ 1 Orientation of Study........................................................................................... 1 Purpose of Study ................................................................................................ 2 Assumptions and Biases ..................................................................................... 2 Delimitations...................................................................................................... 3 Definition of Terms............................................................................................ 3 Significance of Study ......................................................................................... 7 II. REVIEW OF LITERATURE .............................................................................. 8 A Historical Overview of Belly Dance in the United States ................................ 8 Orientalism, Subjectivity, and Spirituality .......................................................... 16 III. METHODS........................................................................................................ 22 Explanation of Evaluation .................................................................................. 27 IV. RESEARCH OUTCOMES ................................................................................ 29 Experiences........................................................................................................ 29 Shannon Conklin.......................................................................................... 29 Class....................................................................................................... 29 Movement Creation ................................................................................ 31 viii Chapter Page Performance ........................................................................................... 32 Elena Villa ................................................................................................... 33 Class....................................................................................................... 33 Movement Creation ................................................................................ 34 Performance ........................................................................................... 35 Lila McDaniel .............................................................................................. 36 Class....................................................................................................... 36 Movement Creation ................................................................................ 38 Performance ........................................................................................... 38 TC Skinner................................................................................................... 39 Class....................................................................................................... 39 Movement Creation ................................................................................ 41 Performance ........................................................................................... 41 Manny Garcia............................................................................................... 43 Class....................................................................................................... 43 Movement Creation ................................................................................ 44 Performance ........................................................................................... 45 Cera Byer ..................................................................................................... 46 Class....................................................................................................... 46 Movement Creation ................................................................................ 47 Performance ........................................................................................... 48 ix Chapter Page Movement Explorations................................................................................ 49 Movement Exploration #1: Shannon Conklin ............................................... 49 Movement Exploration #2: Elena Villa......................................................... 54 Movement Exploration #3: Lila McDaniel.................................................... 55 Movement Exploration #4: TC Skinner ........................................................ 58 Movement Exploration #5: Manny Garcia .................................................... 61 Movement Exploration #6: Cera Byer........................................................... 64 V. CONCLUSION................................................................................................... 66 Self-Reflection ................................................................................................... 66 Critical Evaluation ............................................................................................. 72 Suggestions for Future Research......................................................................... 73 In Conclusion..................................................................................................... 73 APPENDICES......................................................................................................... 74 A. BIOGRAPHIES OF PROFESSIONAL AMERICAN BELLY DANCERS.... 74 B. HANDOUTS, FLYERS, NOTES .................................................................. 84 REFERENCES CITED...........................................................................................
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