It started as a search for what is “out there” in YouTube.com, then became an instant infatuation with such a great dancer. A visit to her website made me respect her love and passion for not just belly dancing, but dance in general, and respect for someone able to take this art to the next level: Academia. Our guest professor Donna Mejia shares with us her experience and knowledge.

Donna: A wonderful friend, Gypsy Ames, a colleague who shared my passion for world dance forms, was the first person to introduce ATS (American Tribal Style) to Colorado. She invited me to events, kept me abreast of her projects and performances, and began an exchange of artistic ideas that is an ongoing source of pure delight to me. My great admiration and fondness for her inspired me to learn more about her ATS passion. I'm a devotee of dance in all forms, and Gypsy proved to be a kindred spirit who matched my enthusiasm for exploration and research. To this day we share books, music, films and resources to further our knowledge of the craft.

Between 2001 and 2006 I directed an international dance festival for Colorado College. I was perpetually scouting for the festival and received an invitation to attend a Bellydance Superstars show in Denver. It was the first generation of the show and the house was mostly empty. Up to that point, I'd viewed a great number of amateur bellydance performances, but this show raised the bar significantly. The incomparable Rachel Brice performed that night, and her stunning talent swept the room off its feet. I wondered if she might be the perfect ambassador to break the glass ceiling of the academy. Middle Eastern dance was not adequately acknowledged by higher education and I wanted to do my part to change that.

Several months later I caught up with her in placeStateTexas to observe her teaching and scout her as a potential headliner for the festival. I'd planned to only observe the classes, but my enthusiasm got the best of me. I was awkward, inexperienced, and trying not to let my self-consciousness get the best of me.

Shortly before, I'd received very serious pelvic injuries while giving birth to my sweet daughter. Because the injuries were debilitating to me as a dancer, I had resigned myself to life as a teacher/administrator and didn't expect to be on the stage again. But as I enjoyed Ms. Brice's class, I began to recover sensations and salient control of muscles that had numbed over with scar tissue. I felt consciousness and healing returning to my traumatized core. The revelation ignited me with possibilities and potential, and I was on fire to learn as much as I could.

Donna: As my own movement language evolves and develops, I find it hard to distill it into a tag phrase or descriptive label. I have presently chosen to explain my art as “contemporary dance reflecting the African and Arab Diaspora, and new fusion traditions in world electronica”. It may seem complicated and lengthy, but in the unfolding of dance history, we are still in a cycle in which global dance traditions do not receive full acknowledgement and citation for their influences and contributions to popular culture.

I do not want to contribute to that marginalizing. Hence, with each performance I try to inform the audience of the traditions that inspire each work through program notes or MC announcements. I aim to be specific about my influences, because I believe with performance comes the responsibility of ambassadorship. Many of the cultures sourced by the Tribal community do not have a sovereign voice in world media and politics. I may not be a member of a given group, but I still intend for my words and actions to uplift the traditions referenced, rather than contribute to their “invisiblelization” (a phrase coined by dance scholar Brenda Dixon Gottschild). I consider it the first of many possible paths of activism in the arts.

Aesthetically, my dance language alternates between heady percussiveness and fluid nuance. I am mostly drawn to music that accentuates deeper tones and “chunky” rhythms. Thematically, I am gratified when addressing subjects and sentiments beyond the use of dancers as simple “poseable props” moving on stage. I enjoy creating works that highlight the unique essence of each cast member, permitting invisible aspects of their personality to be revealed.

Because the industry has an abundance of flirtatious, sassy and licentious dance, I've chosen to avoid those themes as a soloist. I would like for the world to perceive “belly” dance, Raqs Sharqi, and Tribal Fusion as more than primarily a secular social dance. The use of this form for sacred or reverenced staging is heavily contested, but I earnestly believe the form has credible depth and dimension not yet explored by many contemporary performers. Historically the phenomenon of syncretism is well established and undisputed. Examples of sacred dance camouflaged and adapted to celebratory secular forms include the vernacular of the Caribbean, Brazil, and the American south. For some reason scholars of Raqs al Sharqi seem resistant to the evidence that the dance may have developed and adapted under similar circumstances of duress and oppression. My own research has revealed compelling information that warrants reconsideration of the issue. At this time, I'm choosing to explore it thematically in my choreography. Until I secure satisfying answers to my questions, the issue aches and begs my attention. I seem to be redressing it in each new work I create, with purposeful progress and clarification growing with each project.

Navel: Many belly dancers are featured as teachers in colleges and educational institutes, but a smaller number break through strongly enough to be featured in Universities. Can you describe how it is to be part of Smith College as a guest professor?

Donna: Teaching in higher education is wonderful to me. I consider it a fortunate luxury to spend all day, every day, submerged in the dance world and still meet my worldly needs and responsibilities. My present position is Guest Artist in Residence for Smith College and the Five College Dance Consortium (which includes University of Massachusetts, Amherst College, Mount Holyoke College, and New Hampshire College).

I think it laudable that Smith College is taking the lead on giving overdue credence to a genre largely dismissed as fringe or recreational. Of course, we who dance it know there is much more to the story. Smith has made a significant commitment to affirm Tribal Fusion's placement in the academy. I feel a great responsibility to introduce Arab-American Tribal Fusion with thoughtfulness, thoroughness, and truthful representation of its complexities and conflicts.

In this position, I have access to a faculty of over 20 professionals from a variety of dance disciplines. I also enjoy connecting with scholars and visitors from a broad spectrum of fields related to mine such as Anthropology, Gender Studies, Sociology, Theater, History, Philosophy, Religion, Law, Biology, Creative Writing, Physics, etc. The libraries, the guest speakers, the concerts, the films, the think tanks … my mind expands exponentially by the hour and it is exhilarating.

I learn so much from students as well. They provide novel insights to issues and questions I may have overlooked or oversimplified. They share perspectives from their various cultures (currently I'm blessed to have students from Iran, Palestine, India, Syria, Ghana, Saudi Arabia, Nepal, China, Argentina, Mexico, Canada, Somalia, and Georgia). It is a laboratory for shared perspectives that offers endless inspiration. Students keep my mind pliable and open. I have a deep commitment of service to them.

In the many years that I've enjoyed teaching dance, I've grown to deeply respect the courage it takes for someone to sign up for a dance class. It's one thing to camouflage our perceived intellectual shortcomings in an academic or professional setting. But it is completely another, huge THING to allow our physical bodies' complete vulnerability in front of others. I've seen students change and improve at record pace, and I've seen students who, slowly but surely, grind out incremental progress. Conversely, I have also seen heartbreaking examples of students whose confidence is so damaged, whose critical outlook is so paralyzing; one can only begin to imagine the inner-torment they are trying to survive.

I attempt to plant seeds of acceptance and self-respect that may bloom in the future. One never knows when that “AHA!” moment may occur. When the quickening happens, you can see the wheels turning and feel the mind yawning itself open. I live for these moments, for it is nothing less than an honor to bear witness to such remarkable expansion of self. I secretly hope to benefit from the run-off and residue of these inspired and revealing moments. Perhaps my own mind will capitalize on the momentum of another's epiphany. Whether or not this is wishful thinking, I can attest to the fact that I stay perpetually inspired to better myself. Teaching is humbling, invigorating, enriching and beautiful … I'm very happy to do it.

Lastly, there is an unexpected personal connection that has given me great comfort. My most influential mentor, Letitia Williams, graduated from Smith College in the 1950s. I did not know this until after accepting the position here. Ms. Williams' knowledge, work ethic and excellence have defined and continue to shape all of my professional, personal and artistic choices. To bring her legacy back to the Smith campus is an honor and great pleasure.

Donna: My dance language is a natural extension of my cumulative experiences. I never possessed the economic freedom to travel easily, so I translated my wanderlust to experiential dance studies. I arranged employment at dance studios and volunteered for dance organizations to feed my addiction. I have danced since age twelve, and studied whatever I could get access to: ballet, European character, jazz, tap, Mexican and South American folklorico, African (Gambia, Senegal, Guinea, Zimbabwe, South Africa, Morocco) Horton Technique, Silvestre Technique, Dunham Technique, Limon Technique, Pilates, Ashtanga and Iyengar Yoga, Gyrotonics, Hip Hop, Breakdance, Flamenco, Caribbean, and African Brazilian. I have also been profoundly influenced by time spent teaching in Japan and Taiwan.

When I began intentional studies in Raqs al Sharqi and Tribal Fusion, my body was immediately responsive as if drawn to a homecoming. Common denominators became evident … similar to what a linguist might experience in studying various regions and dialects. For that reason, I continue to pursue studies in historical and classical forms of all genres. Dance is a language of human expression, and I wish to speak each form fluently before attempting to create coherent “poetry” for performance. Fragmented knowledge may potentially produce mediocre results, because one may not have enough vocabulary to translate more rarefied or nuanced states of emotion. Building an expansive vocabulary permits me the fullest range of possibilities in creating meaningful art.

Donna: Gypsy CityplaceAmes, Rachel Brice, Aisha Ali and Caroleena Nericcio. Consistently, the following American dance artists transport and inspire me: Letitia Williams; Rosangela Silvestre; and Carmen de Lavallade. I aspire to be any or all of those women when I grow up!

Donna: Without a doubt … teaching! I consider performance a necessary evil and must always press myself to do it. I enjoy performing, but at heart I am a devotee of technique and exploration. I could be quite happy dancing amongst friends and practicing on my own without a need for the stage experience. I take unusual joy in toiling with technique, deepening awareness through repetition, the exploration of movement and diagnosing inefficiencies. I am a perpetual student addicted to the journey of investigating possibilities. The energy of the stage is enjoyable, but fleeting and momentary. What sustains me in dance is my inner experience of the body's intelligence and my spiritual connection to that wisdom.

I am a researcher to the core. Higher education permits me to indulge that tendency, but I equally enjoy unstructured dance as a community enthusiast. I may be an academic, but I refuse to box dance into hierarchies of significance: everyone dances for different reasons and dance serves different functions throughout society. I find that very fitting … I refuse to behave or think like a dance snob!

Donna: Hmm … interesting question. In all fairness I would be remiss if I didn't mention an ongoing issue that plagues me as a teacher. In my efforts to help my students apprehend a movement, I have been known … on occasion … or perhaps more frequently … to utilize outrageous analogies and descriptions that have sent my students into raucous giggling fits. More notable phrases include “Vagina on a train track”, “Beaker the Muppet neck position”, “Booty-pop-plie-chug”, “Puffy-Sucky Abdominal Work”, and “Grandma's Panties”. I don't intend to be so obnoxious, but sometimes it's a stretch to describe interior sensations on mostly involuntary muscles. Creativity, and a little irreverence, can be quite helpful.

I suppose the “Youtube.com” incident continues to surprise me. In a curious gesture of flattery, a bootleg film (from someone's camera phone) of a recent performance was posted on Youtube.com. In defense of my artistic integrity and sovereignty, I posted the official version of the solo in its unabridged form. The work, “Homage Embodied”, can be viewed at:

Most poignantly, I continue to be astounded by the generous kindness, benevolent sponsorship, and earnest appreciation that pour into my life as a result of Tribal Fusion. The most wonderful women and men have come forward to be a part of my journey. I feel a responsibility to be sincerely worthy of their admiration and support. Men, in particular, seem to have an atypical response to my work and I find that fascinating. I have been approached with effusive reverence as they thoughtfully articulate their respect and esteem for the content of my work. They seem to be reaching past their programmed responses (i.e. “Bellydance is provocative and sultry”) to delve deeper into unexamined territory. I feel this is noteworthy, because our society makes it so easy for men to cozy up to conditioned/reinforced notions of “pornographied” and objectified women. I am hopeful that progress is apparent when I receive comments focusing on the substance and message of my performances versus their costuming and contours.

Donna: Two new works will premier Massachusetts at Smith College November 15-17,2007. The works are also scheduled to be performed in Cuernavacas, Mexico the following week at El Estudio de Danza Zahgareet. I'll be teaching and performing in Salvador, Bahia (Brazil) in January. Other international engagements are in negotiation.

Teaching in higher education is overwhelmingly busy (classes, rehearsals, committees, etc.), but if time permits I will certainly try to visit a variety of industry conventions this spring and summer. Big projects … yes! I ferociously protect most of my free time for continuing work on a manuscript. The work evolved from a class I designed for Smith College titled “Integrity in Global and Ethnic Dance Fusion”. The course description follows:

Cultural misappropriation has an unfortunate and extensive history in popular dance. The exploration of ethnic/cultural dance fusion mandates that artists reconcile the values of indigenous dance traditions with agendas of the entertainment world. This course will explore the inevitable transformation of old and new dance traditions in performance, and seek to define what responsibility choreographers/performers have as cultural ambassadors in a “cut and paste” environment. Topics will include film, readings and discussions on

Another sizeable project is organizing my contributions to the codification of Silvestre Technique and its accompanying theoretical documentation. Ms. Rosangela Silvestre's movement and choreography is astonishing to watch and a revelation for dancers who've studied it. It is both a challenging system of physical training and an esoteric approach to experiencing dance and the body. The Silvestre Technique is the singular influence that has shaped my technique and aesthetic over time. In fact, I find it to be increasingly relevant as time goes by. I am honored to partner with Ms. Silvestre in her work and have not experienced one ounce of diminished enthusiasm after 18 years (and counting!). We've also begun design of a new work addressing matriarchal cultures and the transcendent wisdom of the universe's feminine forces.

Last but not least, my most important project is motherhood and family. I would not be nearly the human being I am without the influence and unwavering friendship of my husband, and the loving brilliance of my daughter. I can't begin to explain how blessed I am by their presence and love.

Tribal Fusion commemorates the legacy of women's dances and movements dating back over 7,000 years to practices of the Goddess traditions. As a contemporary form, it is secular in purpose and broadly interpreted by individuals. My personal approach is inspired by 20 years of scholarship in nomadic dance traditions coupled with the highest regard for my teachers and elders. This performance is offered in full gratitude for those who have come before me, for they bore the ridicule, persecution and retribution often directed towards women who danced publicly.

I don't just dance for the audience before me. I dance with the expanded awareness of, and profound respect for, every dancer in history who was ostracized, stoned, prostituted, beheaded, raped, mocked, enslaved, tormented, compromised, etc. I want my dance, and my scholarship, to uplift their memory and sacrifices.

Throughout recorded history, dancers have protected the most treasured ideal of human expression and potential, yet society is not always prepared to receive our efforts. Dancers, of all kinds, tread a precarious path of representing, evolving and archiving the archetypal language of our species: we represent the most elemental efforts at communicating meaning through movement. When words fall short, our movements are capable of conveying grief, bliss, rage, jubilation, confusion, angst, dignity, tranquility, passion, and a host of other precious human emotions. Sometimes society speaks our language, sometimes it does not. For those who get caught in the crossfire of passing ideologies and cycles of unfavorable regard, I am moved to study, research and produce thoughtfully. Sooner or later, humans will comprehend the gift of embodiment.

Donna: I receive requests from around the nation for my research sources. I am still in progress on many issues, but I can certainly recommend the following titles for serious students of Middle Eastern dance Raqs al Sharqi, ATS and Tribal Fusion. Please note this is a “get started” list that includes titles by both scholars and lay enthusiasts: