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Supplemental information,
opinions, and links to related sites
Authenticity in Folkloric Dance Traditional forms often have an exotic appeal to Western performers seeking to spice up their acts. Sometimes the artists are just looking for a gimmick. Others are sincere but believe that they can master an art form in a few weeks or months that may have taken centuries to evolve in the communities of origin. Still others may have developed a true passion for the arts that they study.
If an artist has borrowed elements without really understanding the meaning behind them, it can evoke feelings of dismay or even resentment among members of the original culture. Indiscriminate use of elements out of context, particularly when done by members of a “dominant” culture from an “indigenous” culture, is generally discouraged by those who consider themselves as guardians of those cultures. However, subject peoples imitating or even mocking their conquerors, as well as borrowing between two cultures with socioeconomic parity, usually draws less criticism. It is also true that members of a source culture may cut you some slack if they see you as an “insider” - but then again, perhaps not. This is not to say that we can never innovate, or that we have no right to perform dances from cultures other than our own, or that we can never attain proficiency at them.
It is sometimes ironic to see purists adamantly defending art forms of cultures not their own, treating every expression of traditional cultural elements as a museum piece, a perfectly preserved relic or artifact. Such Resources people often try to one-up each other about who’s REALLY authentic. I’ve mostly seen this done by people outside of the source culture. It is my opinion that every art form must constantly be reinvented and adapted in order to convey its meaning to newaudiences, or even to retain its relevance in the culture of origin. When adapting, it is important to know when we are departing from age-old tradition, and what was the reason behind the original practice, in order to give our work a sense of integrity and authenticity. It also helps to have input from a variety of knowledgeable people who know what’s what but who also share one’s creative vision.
And… who is to say who “owns” a culture? Does each newcreation require blessing from some authorized bearer of that culture?
When reinventing traditional forms, it’s also important not to LOOK like one has studied 20 different styles for three months each. Our mission is to present universal themes to captivate a broad audience, conveying a sense of continuity and congruence, while still appealing to the sensibilities of members of the culture from which inspiration is drawn.
There is a long history of researching and adapting traditional dance movements for presentation on stage in order to invent or sometimes re-invent expressions of culture. Choreographers such as Mahmoud Reda and Alvin Ailey both drew from their own backgrounds to create dances that retained an authentic feel but were far more than mere replicas of down-home entertainment.
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| ©2004 Rebecca Firestone |
