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Dressing the Dancer: Identity and Belly Dance Students A Dressing the Dancer: Identity and Belly Dance Students A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Margaret Anne Deppe IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Joanne Eicher, Elizabeth Bye May 2010 © Margaret Anne Deppe 2010 1 Abstract Dressing the Dancer: Identity and Belly Dance Students Dress is a primary tool in the public presentation of the self (Stone, 1962). Clothing, grooming, and the physical appearance of the dressed body contribute to self image in both professional and recreational settings. Attending belly dance classes is a popular leisure activity among American women, and for many, dress accouterments are a significant part of the class experience. Dressing of the self for recreational events gives individuals the opportunity to express alternate aspects of the self not typically evident in other social settings and provides an opportunity for female socialization. The appearance of vendors selling specialized dancewear for classes, seminars, and workshops suggests that dress plays a significant role for students at all levels of belly dance activity, not just among those who perform professionally. This study examines the types of dress worn for belly dance classes and the motivations for dress choices made by students learning to belly dance from professional instructors in dance classes, seminars, and workshops. The study will further investigate how dress contributes to the expression of identity in the belly dance class context. The methods used for this study are participant observation at locations and events where belly dance classes, workshops, and seminars are held as well as half-hour interviews with students attending those events. The procedure and interview schedule have been approved by the Institutional Review Board, study #0804P29690. i Table of Contents Abstract................................................................................................................................ i Table of Contents................................................................................................................ ii List of Tables .....................................................................................................................iii List of Figures.................................................................................................................... iv Foreword............................................................................................................................ vi Chapter One: Introduction .................................................................................................. 1 Chapter Two: Social History of Belly Dance in the United States..................................... 6 Chapter Three: Theory...................................................................................................... 20 Chapter Four: Methods ..................................................................................................... 36 Chapter Five: Who is a “Belly Dancer?”.......................................................................... 42 Chapter Six: Belly dance class dress and choices............................................................. 50 Chapter Seven: Belly Dance Class Dress and Identity ..................................................... 76 Chapter 8: Conclusions and further research.................................................................. 111 References (Annotated) .................................................................................................. 122 Appendix A: Recruitment Materials and Consent Forms............................................... 136 Appendix B: Interview Schedule.................................................................................... 139 Appendix C: Tables with expanded responses ............................................................... 140 ii List of Tables Table 1: Skill level of interviewees .................................................................................. 44 Table 2: Reasons for attending belly dance classes.......................................................... 46 Table 3: Responses to "Do you consider yourself to be a Belly Dancer?"....................... 48 Table 4: Belly dance class dress items.............................................................................. 72 Table 5: Responses to "How does the way you dress for belly dance classes...make you feel about yourself?" ......................................................................................................... 84 Table 6: Time and Skill, expanded responses................................................................. 140 Table 7: Starting and Staying, expanded responses........................................................ 141 iii List of Figures Fig. 1: Dahlal International Promotional, July 2008........................................................... 4 Fig. 2: Soloist, Priscilla, 2004............................................................................................ 6 Fig. 3: Dance Group, Devyani, 2006 .................................................................................. 6 Fig. 4: Algerian performer, 1893 ...................................................................................... 11 Fig. 5: Film stills of Princess Raja, 1904: Library of Congress American Memories Archive.............................................................................................................................. 12 Fig. 6: An Oriental Dance, 1913....................................................................................... 12 Fig. 7: Lobby Card for Salome, 1922 ............................................................................... 13 Fig. 8: New York Times Ad, 1972 ................................................................................... 16 Fig. 9: Community Ed Poster, 1980s................................................................................ 18 Fig. 10: Jill, Beginner........................................................................................................ 51 Fig. 11: Vicki, Intermediate.............................................................................................. 55 Fig. 12: Intermediate outfits.............................................................................................. 56 Fig. 13: Holly.................................................................................................................... 59 Fig. 14: Eileen, Experienced............................................................................................. 62 Fig. 15: Crop top with ‘cold shoulders’............................................................................ 65 Fig. 16: Lori ...................................................................................................................... 66 Fig. 17 Timeline of Cassandra School class dress, 1978-Early 1990s ............................. 68 Fig. 18: Timeline of Cassandra School class dress, Late 1990s-2008.............................. 69 Fig. 19: Shara.................................................................................................................... 82 Fig. 20: Val ....................................................................................................................... 89 Fig. 21: Belly dance shirt logos: Shimmylicious, Ya Habibi, got hips?........................... 98 iv Fig. 22: Rakshanda, Jawhara, and Priscilla..................................................................... 101 Fig. 23: Dance name license plates, palm tree plate frame, and Egyptian eye of Horus decal ................................................................................................................................ 105 Fig. 24: (A) Categories of dress as related to individual identity ................................... 108 Fig. 25: (B) Categories of dress as related to individual identity ................................... 109 Fig. 26: (C) Categories of dress as related to individual identity ................................... 110 v Foreword This study began as an auto-ethnography (Lofland, Snow, Anderson, & Lofland, 2006) as I tried to situate my own experiences as a long-time belly dancer within those described by formal literature. Most of the academic work focused on professional performers and the Orientalist expectations for performers in restaurants and other public venues. Although I performed professionally as a soloist in several Twin Cities’ restaurants during the mid- to late- 1990s, my experiences as a performer are not consistent with those described by either Forner (1996) or Deagon (1996). I have never felt that donning belly dance costumes or performing belly dance thus dressed ‘transforms’ my self identity. The notion of exotic Orientalism labeled as instrumental to the composition of public belly dance performances, documented by Rasmussen (1992) and Shay and Sellers-Young (2003, 2005) is not part of my internal motive. For me, performance has core elements of fun and “dressing out” of my usual, day-to-day roles (Stone, 1962), as well as the social interactivity that I enjoyed in both the professional and avocational venues where I performed during that time period. These included settings such as the Powderhorn Park Art Fair and the Minnesota Renaissance Festival; MiniCon, a science fiction and fantasy literature fan convention; and various Society for Creative
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