Persian Dance

**Rasputin** · 07-04-2005, 02:15 AM

THE CULT OF MITHRA
AND THE ORIGIN OF PERSIAN DANCE

The origin and rise of Persian dance as an independent and distinctive art form is estimated to be parallel with the birth of Mithraism and its spread. This cult centrally revolves around the ancient Persia’s sun and light God, Mithra, who is the main figure in this mystery religion that during the late antique era spread over the entire Roman Empire. Numerous temples and depictions of the legendary Mithra have been located and excavated in the three continents of the ancient world; Asia, Africa and Europe. The latest discovery has been done in London as late as 1954.

The most important ritual in this cult has been the worship of Mithra, as he is sacrificing a bull. This act was believed to promote the vigour of life. The consecration to this belief was accomplished among other rites through the baptism in the blood of a bull, followed by a ritual dance performed only by men. This ceremonial act is considered as the earliest known form of Iranian dance, and the origin of the magic dance of the antique civilisations. It is typical for sacred Persic (Persian) dance, so called “Danse Persique Sacrée”.

The most significant bases for researching around the ancient Persian dance can be found in the Greek historian from Halikarnassos, Herodotos’ superb work “Nine Books”. He describes the old history of Asian empires and Persian wars until 478 BC.

In several occasions he has indicated and in detail described the cultural and social habits of Persians. He has mentioned the wide cultural exchange that Persians had with the ancient world. “From every corner of the known (antique) world, the most appreciated artists were imported to the imperial court in order to practice their artistic abilities in the presence of the majestic Emperor and his court.”

**Rasputin** · 07-04-2005, 02:15 AM

ACHAEMENIANS,
AN ART PATRONIZING IMPERIAL DYNASTY

The cultural exchange with the ancient civilizations, particularly with Egypt and Greece has been extensive and proceeded during several centuries. In various works by Greek historians “Persian dance masters” (choreographs and pedagogues) have been mentioned as they have appeared in antique Greece, and Greek “sportsmen, poets and dancers” have been sent to the Persian Empire.

This cultural exchange has been described as one of the distinctive characteristics of ancient Persian culture, which gave rise to the term of “acculturation”, meaning the acceptance of new cultures. This was an evident quality for the legitimation and survival of an empire that ruled over numerous nations, from Egypt in North Africa, to India in Far East. It was the world’s first religiously tolerant empire and consisted of a multitude of different languages, races, religions and cultures.

Achaemenians, the first ruling dynasty of the Persian Empire, contained several enthusiastic emperors who encouraged the advancement of different art forms. Ketzias, another Greek historian writes about the popular and talented female dancer, Zenon from Crete, who was Artaxerxés II:s (Ardeshir Shah II) court dancer and “the apple of the King’s eye”.

Another Greek historian, Polukleitos, reports that at the marriage of Alexander the Great with the Persian woman “Roxana” in Susa, which continued in five days, he was amused by Greek musicians, singers and dancers who were engaged at the Persian Imperial Court.

Ketzias has specifically mentioned a sort of Persian dance, which was performed in connection with the ceremonies of Mithrakana (Mehrgan) in which even the King participated. “The King in India never appears if he is drunk. But unlike him in Persia, the Emperor drinks precious wine and devotes himself to the Persic dance during the ceremonies arranged in honor of Mithra”. Douris from Samos reports about the same royal tradition: “Only in one occasion the King drinks wine and dances Persic dance and it is when worshipping Mithra.”

Contemporary history writers of our time, such as the French historian and professor Pierre Briant, has convincingly certified in his master piece “L’Histoire de l’Empire Achemenid” that dancing has been an important part of the religious worship among Achaemenians and in the faith of Zoroastrianism (another Persian religion that is still practiced all over the world).

Professor Briant quotes Xenophon, the antique writer of the Cyropedie (a biographical depiction of the first Achaemenian Emperor’s life, Cyrus the Great): “When Cyrus was devoted to the traditional sacrificing rituals in Pars (Persia) he commanded the Persians to perform a dance, which was influenced by the customs of their ancestors: Kata ta patria.”

Xenophon emphasizes that this kind of Persic Dance (Danse Persique) has been very usual and as popular as “riding” because “Persic Dance, like a sport, strengthens the muscles”!

The importance of the art of dance among Persians can clearly be viewed relatively numerous Greek history books. Different forms of dance have existed as they were performed on ceremonial, ritual or entertaining occasions. “For acquainting their horses with the tumultous scenes of war, the Persians used to execute a “military dance”, which meant that in a collective arrangement, clashing the weapons together rhythmically and dancing with their horses".

“… the man from Mysie performed a Persic dance by clashing his shields together, bending himself forward and rising up again. He did all that harmonically and proportionally to the rhythm of the flute.”

Dancing was a well-developed and protected art form during the existence of other dynasties of Persian Empire, for instance Parthian and Sasanian. According to the Greek texts, there have been detailed descriptions for different forms of dancing, like fire dance, sword dance and even horse dance, which meant dancing while riding on horseback.

**Rasputin** · 07-04-2005, 02:16 AM

ISLAM FORBIDS DANCING

Dance as a respected social behavior and as a part of the Persian culture existed and was elaborated through millennia; alike the antique dance of China, Greece and India until the Arabs invaded Iran. Their new religion prohibited dancing, and this practically implied the extinction of the antique Persian dance traditions.

The English dance historian, Lilly Grove, writes in her book “Dancing” which was published in 1895: “Mohametan views concerning music and dancing have greatly narrowed the circle of amusements in Persia. Dancing girls were numerous at Court until the reigning family ascended the throne of Persia; but at present the dance is given up to women of low condition and of slack morality, or to young boys dressed as women.”

Centuries of political instability, civil war and occupation by foreign powers, first Arabs and then Mongols resulted in a slow but steady disappearance of some Persian prehistoric heritage like the dance traditions.

Beside the religious prohibition, a historic tragedy and a national humiliation was the other important reason for Iranians, not to appreciate the art of dance for a long time to come. After the fall of Persian Empire, when the country was torn into pieces, Iranian women and young girls were slaved and soled in the salve bazaars of the new conquerors. They were forced to sexual intercourse and to erotic dances for pleasing these uncivilized rulers.

One corrupted caliph, Harun ul-Rashid, had approximately three thousand musicians and dancers in his palace who were at his disposal, among them many Persians. This although dance and music was strictly forbidden according to the Islamic instructions. A particular Iranian family named as “Mowseli” has been mentioned as the responsible for the caliph’s entertainment.

This historic shadow and national dishonor, for a people who were losing their cultural identity and human dignity, characterized their view of dance during centuries to come. No Iranian man wished to see his woman dancing in the presence of a stranger. This is why the attitude of Iranian Muslims toward dancing has been of a more conservative nature compared to other Muslim countries throughout the history.

**Rasputin** · 07-04-2005, 02:16 AM

SUFISM
AND RISING OF SAMA’ DANCE

By and by dancing appeared in the Persian mystic and Sufi faith. It took a central place in literature and was performed by religious men. Hafiz (d. 138

, Saadi (d. 1292) and Mevlana (d. 1273) were three great Persian poets who extolled dancing in their poems and used this art form as a symbol of the power of life. Sufism recommends dancing as a spiritual instrument to “become one with God”, which is the final goal in this faith.

One of the great spiritual masters and poetic geniuses of Persian literature is Jalal ud-Din Rumi, known as Mevlana. He is the most appreciated Sufi of all times, who made dancing a central element in his Sufi doctrine. He was born in Balkh, in the province of Khorasan in the northeast of Iran and flew to the west, away from the invasion of Mongols in the 12th century. He finally resided in the city of Konya where his mausoleum is located today.

It was there he established and developed his order with strong portions of spiritism. Due to the Sufi instructions he stands in the middle point of this belief as the great Sheik, the “spiritual leader” in connection with the hidden, divine dimension and guides his followers “upwards” to the “Immortal”.

The goal will be achieved by practicing a strong ecstatic ritual performed with music and dance as the central strain. This charismatic performance is called Sama’ and represents a spiritual rapprochement to the “Creator” and is practiced until today.

Jean Börlin namely choreographed his ballet “Whirling Dervishes” for ”Les Ballets Suédois” in 1920:s, inspired by this great Sufi faith and its ritual.

**Rasputin** · 07-04-2005, 02:21 AM

DANCE,
A POPULAR ART IN QADJAR COURT

The only original form of Persian dance in its existing condition, which has survived throughout the centuries, is the folkloric dance of various Iranian focal groups and in particular the nomads. Few dance shows occurred in bigger cities and in public, not at least because of the religious belief and the Islamic prohibition in a strongly traditional, religious and undeveloped society.

But it was different in the royal court of the Qadjars. Old dance traditions can be found there, especially among Qadjar women, even if the art of dancing had no popularity among ordinary people.

However, the rise of the Qadjars in 1796 meant a liberalization of people’s attitude toward dancing, although this art form remained in the monopoly of the royal court. There are illustrations such as both splendid paintings and texts in form of memoirs and official reports emphasizing the popularity of these dances in court and among the elite and bourgeois families.

Thus dancing became much in vogue and a social phenomenon, usually performed during diverse entertaining programs like coronations, marriage festivities and ceremonies of Norouz (the Iranian new year celebration).

In 1998 an art exhibition was arranged in the Brooklyn Museum in New York, USA, where paintings from the Qadjar era was shown. Some of these paintings portray dancing court women at festivities or professional female dancers who entertain the guests.

As mentioned, the Iranian folkloric dance was more developed outside the big cities. Lilly Grove, who I quoted earlier, has reported about a kind of a Tarantella looking dance, which existed in Buzabatt, near the city of Kashan and which looked similar to the Italian one in Sicily.

Further she writes, “In Persia the student of the history of the dance meets with the same difficulties in his investigations as he does in Scotland. The religion of the country has endeavored not only to suppress the pastime, but also to forbid any record of it.”

Another English dance researcher, E. G. Browne, who traveled in Iran and studied the Persian dance in late nineteenth century, has mapped folk dances in the province of Khorasan and Kurdistan. “Yet in some remote provinces of Persia there are dances performed by peasants at night, and at Tehran itself Georgian girls are employed as dancers”.

He speaks with admiration of the dancing boys of Persia; he praises their “elaborate posturing, which is usually more remarkable for acrobatic skill than for grace, at any rate according to western ideas.”

Thanks to the care and efforts of some Iranian minority groups, such as Iranian Armenians and Jews, a fraction of what is called Persian dance has been saved throughout the history among ordinary people. Obviously, several Iranian artistic and cultural heritage including the art of dance would have been lost, if it was not for the devotion of these people.

We Persian Iranians owe a debt of gratitude to our minorities, who in some cases have lived in Iran for thousands of years, because our cultural heritage thus survived difficult times of turbulence and social decadence. Any tradition of Persian dance, which could have been saved, has been preserved through these minorities.

**Rasputin** · 07-04-2005, 02:24 AM

THE ERA OF PAHLAVI
AND MODERNIZATION OF
IRANIAN CULTURE AND ARTS

The rise of Pahlavi dynasty meant a methodical concentration on modernizing the country. During the years to come an accurate attempt was done in order to compile and develop different styles of dance. From prehistoric folkloric dancing, which is left from the Persian original dance, to the contemporary works of the great western choreographers like Maurice Béjart and Martha Graham.

The history of Iranian ballet traditions starts from 1928, when Madame Cornelli gave her very first lessons in classical ballet until 1982 three years after the Islamic revolution. She and later other pedagogues such as Serkis Janbazian and Madame Yelena, trained some children of the upper class in Tehran. These pedagogues, all of them with Armenian origin, have been educated abroad by European ballet masters. Later on, Madame Cornelli evolved her activity by touring with her ballet ensemble in different parts of the country and abroad.

Yelena Avedisian, known as Madame Yelena, immigrated to Iran in 1945. She moved to the city of Tabriz with her Iranian husband, where she shortly thereafter started her dance school. In 1962, she established the “Song and Dance Ensemble” with the participation of her 150 students. Later, when she moved to Tehran and established a new school, she made ballets of Persian character. ”Rose of Shiraz”, ”Song of the Canary”, ”Gulnara”, ”Portrait of a Patriotic Girl”, ”Fire Dance”, and ”Fountains at the Ferdowsi Square” are some of them.

During the 1930:s, 1940:s and 1950:s a new kind of entertaining dance was developed. It had its roots in Qadjar dance traditions and became known as popular dance, or in the term of our time disco dance. It was performed by ordinary people and aimed only as entertainment at private gatherings and festivities. This kind of dance did not have any artistic quality, but it became more and more popular and new stiles were developed. Motrebi, Ru-hawzi, Baba Karam, Shateri and Tehrooni were performed by people, even as solo dances!

In early 1940:s the first known Iranian dance ensemble with a professional character was formed, called "Revival of Ancient Iranian Arts". For the first time, in 1947, the company was introduced abroad touring in Turkey, Greece, Italy and Lebanon. Later, between 1951 and 1953 performances were given in India and all the Middle Eastern countries.

The Iranian group of "National Folkloric Music, Song and Dance" was formed in 1958 by the Ministry of Culture and Arts under the direction of Nejad Ahmadzadeh. The goal was to revive, restore and develop all kind of national and folkloric music, song and dance.

Groups of experts were sent to villages and far-fetched provinces of Iran to gather material and to make an in depth study of these art forms. The company performed in the presence of all the state guests of Iran including many royal families and presidents of the East and the West such as the Queen of England, King Hassan II of Morocco, Presidents De Gaule of France, Yahya Khan of Pakistan, Chaussesco of Romania, Nixon of USA, etc.

In 1959, the ensemble participated in the International Folk Dance Festival in Turkey, being its first international introduction. Later in 1964 the troupe made a long tour in the Pakistan, Afghanistan, Tunisia, Morocco, the USSR and almost all East European countries. It gave also a week of performances at the Iranian pavilion in Canada at Expo 1967 and Expo 1970 in Japan . During 1968-69 the ensemble made another extensive tour in the USSR, Afghanistan and Tunisia.

More and more dancing became accepted in the traditional Iranian society and thanks to the devoted work of some Iranian enthusiasts it was developing to a popular form of art. Nejad Ahmadzadeh says: "Dance used to be a lowly means of entertainment in Iranian culture. During my career we placed it on the cultural map of Persia as an art form, where it belonged".

During the 1950:s some initiatives have been taken also for establishing a government supported and well organized ballet ensemble at a national level. The Ministry of Culture and Arts invited some ballet masters and choreographers from Europe and the United States to come to Iran and together with the Iranian ballet veterans start a national ballet company.

Nejad Ahmadzadeh was sent by the Ministry to the United States to visit and study different opera houses and concert halls. At his return he established the technical, administrative and artistic sections of the newly built “Roudaki Hall Opera House”. During the same time also a state supported Ballet School was formed for which ballets teachers were engaged from abroad.

**Rasputin** · 07-04-2005, 02:26 AM

Persian Classical Dance Today, in "TehrAngeles"

Unlike Indian classical dance or western classical ballet, Persian classical dance has not been organized and codified. Thus each dancer creates her own style and improvises within a recognizably Persian framework of movements. An innovative dancer is able to extend the vocabulary of movements in many directions, while retaining the essential Persian feeling.

Because of the emphasis on expression, Persian classical dance is best suited to intimate settings, rather than large concert halls. It was created and grew up in the courts of the princely classes and in private homes, and flourished in the tea houses. None of these venues could compare in size with the concert halls of today. The subtle movements and facial gestures and interaction with the audience that are the hallmarks of the Persian style do not translate well to the 25th row of a large theater. Still, though there are few solo performers of Persian classical dance in Los Angeles, there are several noteworthy dance companies. Bale-ye Melli-ye Pars (“Pars National Ballet”), directed by A. Nazemi, is a continuation of a company that he founded in the 1960’s in Iran, and specializes in authentic presentations of folkloric dance, modern ballets on traditional themes, and some classical-style dance. Sabah Dance Company, directed by Mohammad Khordadian, features flashy choreographies of folkloric dances, with some stylish classical dances. Anthony Shay’s Avaz Dance Theater also includes both folkloric and classical-style dance in their repertoire.

Classical Persian dance today continues to evolve, as exemplified by Haleh, a most extraordinary dancer, with whom I have had the opportunity to study. Haleh was from an upper-class Iranian family who would never allow her to dance in public. But the family was very much involved in Iranian performing arts; they had a restaurant on the Caspian Sea, where the best singers, musicians, and dancers came to perform. She grew up immersed in the Persian, and western, arts. She studied all kinds of dance, including ballet and flamenco. Though she has never performed in public, she is one of the most gifted dancers I have ever seen, combining strength, flexibility, musicality, and art, into what could be considered the epitome of classical Persian dance. Influenced by western technique and the power of flamenco, her dancing is suffused with the elegance of Persian expression. She provides an example that Persian classical dance is not a dead art, frozen in time and endlessly repeated, but one that is both rich in heritage, and capable of adapting and incorporating elements from outside its tradition.

**Rasputin** · 07-17-2005, 11:10 AM

...Two lovely girls prepared for the dance.....went to change and came out again in wide green trousers, embroidered white bodices, which did not cover more than their breasts; and with castanets of silver blended metal on their fingers.
The musicians tuned up and the two girls began.

Their foot movements were controlled and unimportant. It was the upper part of their bodies which moved. Sinuous and supple, they waved their arms gracefully backwards and forwards above their heads, while their fingers played with the castanets so that they sometimes clapped like Spanish castanets and sometimes rang like a chime of bells.......The tempo of the dance increased until the dancers' feet flew over the mat so lightly that the soft thudding of their feet was scarcely even heard.

Urged on by the dance and the music, the audience began to shout to the girls, who suddenly stood on their heads, turned somersaults, and made snake-like movements. The audience was delighted."

**Rasputin** · 07-20-2005, 05:48 PM

Persian Dance- in Perspective - The Non-Persian perspective by Shahrzad Khorsandi
“You’re a Persian dancer? Oh- so you do Bellydance?”
“ What kind of dance do you do? Persian? Oh I know a bit of Persian dance ! I took a Bellydance class at the YMCA last year!”
“ I love Persian dance! My daughter takes it over at the community center. It’s called Bellydance for teens!”

If I had a nickel for every time someone I talked to referred to Persian dance as “Bellydance”, I’d be traveling around the world in my own private jet. It’s no wonder that we Persians get so excited when someone non-Persian speaks a word of Farsi, or even recognizes that Persians speak Farsi and not Arabic. I can’t blame people, though, for not being familiar with the Persian culture. For one thing, the American media seems to refer to ALL middle-eastern countries as “Arab countries”, completely ignoring the fact that the inhabitants of countries like Iran and Afghanistan are of the Indo-European race. From this distant perspective it’s easy to see that part of the map as the Arab world, which of course, thanks to Hollywood, paints an exotic picture of smokey hookah lounges and long-bearded sheikhs with their harems of beautiful bellydancers, and nothing else. The only other image of the middle-east, this time thanks to the news media, is the image of the “terrorist”. I guess if I had to pick, I’d choose the former over the latter.

The style of dance, “Bellydance”, in Farsi is directly translated as “Arabic dance”, which is why every time someone mistakes my Persian dancing for Bellydance, it’s as if they are confusing my ethnic identity with another. In a way, it’s like saying to a Chinese person, “You are from China? Oh I know how to say hello in Japanese! May be you can teach me some more words!” I believe all cultures are full of beauty to explore and discover and I respect every culture. But I do wish people wouldn’t constantly confuse my culture with others. It’s a strange feeling of a lost identity. It’s as if I have entered a room full of people who insist on calling me by someone else’s name.

Of course there are always similarities in the cultures that are geographically close. There is an overlap in the music, dance, art; certainly a connection through the religion, Islam and “Islamic Art”. There is always a cultural overlap with neighboring countries. But there are many differences that make each culture distinct, and it is those distinctions that give the culture its identity. So, part of my mission, as a Persian dancer/choreographer/teacher is to expose the non-Persian public to the distinct aesthetics of Persian dance. I do that by performing Persian dance in self-produced and collaborative concerts, teaching Persian dance classes and workshops at colleges/universities, community centers, schools, libraries, and through my dance company in Berkeley, California...

**Rasputin** · 06-08-2006, 10:58 AM

NIOSHA RAISES $10,000 FOR CHILDREN's CANCER by Faranak Ravon

I was thrilled to be part of Niosha Dance Company's annual fundraising event for children with cancer, held in Campbell , CA on May 13, 2006.

She is truly an inspiration! I'd like to share the day with you all:

Prior to the dance performance, Niosha gathered all the children backstage and while she held up photographs of the sick children in Iran she said, "Dear lovely students and talented perfomers: Remember what you are doing tonight is not just another performance or a school recital. You are helping all the kids your age (God forbid) who don't have as much fun as you do, or get to be among friends, or even enjoy the simplest joys of life. They are in hospitals awaiting their next medication. They have no money, and little hope. So, by dancing your best, and giving your biggest smiles, you will touch the audience's hearts and make them come back and support us every year. By sending the tickets' money to those kids, you give them a second chance in life. We don't know who would be next to go on the hospital bed (I hope no one we know, but unfortunately it could happen). We all need to keep in mind why we are here. Have FUN and do you BEST, and don't forget, put on your BIGGEST SMILES! You are all amazing for all the time and effort you've put in to this show and all the practices, and hard work is about to pay off!" Niosha was diagnosed with Non-Hodgkins Lymphoma in April 2002, just 3 months after the birth of her second son. On April 2003, she celebrated her victorious fight against cancer with her caring supporters in the community along with her devoted and talented students when they performed "The Comeback" show and donated all the proceeds to 'children with cancer'.

That is what she promised God during her treatment period -- that if she gets another chance to perform and be on stage with her kids, she will make a difference in the world. It has been 3 years that she's been given this opportunity. Niosha says: 'I am so grateful for what happened to me. It made a huge difference in my life and I live with a purpose and passion for life 'every day' ,since I got too close to the end. Now that I am able to breathe and work and enjoy my time again, I don't take anything for granted and I appreciate all I have. We all have so many things that if we want to enjoy them all, there won't be enough time. Unfortunately we spend most of our precious time nagging and worrying about the things we DON'T have and we miss all that we do.

I enjoy my ANGELS (2 sons before I was diagnosed with cancer, since they kept me going) and I cherish my MIRACLE baby (my 3rd son who was born 3 years after my diagnosis when doctors told me I couldn't have anymore babies!). Miracles do happen and I believe in them.

**Parinaz_M** · 06-08-2006, 01:35 PM

mer30 dash sia
man asheghe rakhs hastam
baba joon har ki mikhad raghs yad begire biyad pishe khodam
chand ta classe feshorde baraton mizaram, hame chizo beheton yad midam

**Sepideh_UK** · 06-09-2006, 05:03 AM

khob ye video az raghse irani bezarin inja

**Rasputin** · 06-16-2006, 10:42 AM

Dancers Parousha Zand, Aliah Najmabadi and Rosa Rojas in Safar-e Zamaan-Time's Journey.

This summer Afsaneh Art & Culture Society programs will continue with classes and activities in the Bay Area:

Sign up now for Summer Camp! with the Alborz Farsi School. 408 829-8296
Ballet Afsaneh Dance Academy continues with classes this summer in Marin, San Jose and Berkeley. Email for schedules and information--- <info@dancesilkroad.org>

Yes the rumors are true! Ballet Afsaneh and the Nejad World Music Center collaborative concerts are now finally available on DVD! Two different DVDs are ready for purchase, “A Rose in Love's Garden” and “Dayereh Hasti: Circle of Life” for $40 each or both for $70. We will be sending out a link for online orders soon. In the meantime please email us directly for more information at----- <info@dancesilkroad.org>

From all of us with the Afsaneh Art & Culture Society:

Thank you for making this year our best ever and your continuing support of our programs throughout the year! Have a wonderful summer.

**Rasputin** · 07-25-2006, 04:01 PM

Relocating to the west coast was a big leap for me. A young belly dancer from New England, I wanted to move where the weather was gorgeous, and the stakes were high. I had heard there were a lot of people from Iran in California. This gave me respect for the culture.

People who were smart enough to pick a place with nice weather -- how great. Not like my ancestors, who moved halfway round the world to wind up in Massachusetts. I resented that with each blizzard -- why couldn't they have gone a few extra miles and landed someplace sunny? Shaking my fist at the sky, I made my plan. California, here I come!

Nothing in my life had prepared me for Southern California. Television had lied to me. And to make things worse, I moved to Orange County. I hated OC immediately. But -- there were Persians as promised! Lots of them. And the women all looked ten times more beautiful then me. Damn!

Now, let me explain something about me here. Growing up as a girl brain in New England, I never worried much about my appearance. Bathe and comb your hair, that's all it takes to be cute in Boston. Add lipstick and you can be homecoming queen.

I was used to gussying up for performance, but the rest of the time, I considered myself strictly off-duty, and with good reason. Now thanks to all these hyper-groomed females I might be forced to join a gym. Oh, the humanity.

The first week I called home and regaled my best friend with stories of how you could get "that good soup" (aush reshteh) whenever you wanted. At this time, Massachusetts had only one Persian restaurant in the entire state. So getting the good soup was really something special. I had it every day for a week.

Pretty soon I was dancing at a lot of the venues, and getting my soup for free. I learned there were tricks to dancing for Persian audiences. I live in the Bay area now, and perform at a lot of Persian events in the South Bay. Here's what I have learned in my cross-cultural journey:

1. No matter what you call them, it's wrong. Whether I say "Persian" or "Iranian" someone in the room will correct my usage. If you call them "Arab" they'll send you home with an atlas. Oh yeah, and a black eye.

2. Nothing slow. Americans love really draggy music; it sounds mystical and exotic to us. Not the Persians. Loud, please. Fast, please. And does it have to be middle eastern anyway? Haven't you got some Alabina?

3. I am not the best. The best dancer in the room is never the professional dancer. It's always a guest, but she would never perform for pay -- so they are stuck with me, hah!

Sometimes I like to play a guessing game before going through the audience. I call it "Dancing Quuen". Dancing Queen might br six years old, or sixty. Who will she be this time? That coed princess in platforms? The grandmother in a headscarf?

All I know, is someone here is going to act very shy and offended before standing up and transforming into an Austin Powers Femmebot. Then she'll sit down before getting sweaty or disheveled.

4. Nothing old. This includes the dancer. Got a wrinkle? Get off the stage!!! This also includes music. No old music. And costumes - they better not be shabby, and don't wear the same one twice in a row. Is "bling" a word in Farsi by the way?

5. Nothing boring. Bring your sword, your fire, your wings and coin tricks. The first time I danced at a South Bay club, there was a mixup with my music. It was another dancer's CD that turned out to contain thirty minutes of new age music for stretches and yoga exercise.

I tried to front that I'm all ethereal and mysterious, but after a few songs I gave up and went back to the dressing room. I think we were all relieved when the band came on and struck up a thumping bandari. The next time I showed up, one guy said to his friend "Look, it's the serious dancer!"

6. Don't touch the hair. Never the hair.

7. Mind the carpet. Living in SoCal, you meet some very wealthy people. I guess you've got to have money to afford all the rug shampoo it takes to clean 10,000 square feet of wall-to-wall white shag. From Bel Air to Encino, I would dance at parties and marvel at the courage it takes to sip red wine in a house that looks like the set of a Kubrick movie.

8. They could have fun anyway. I love this about Persians. Okay, let me explain something from the belly dancer's point of view. I might see a hundred parties in a year. I run in, dance, run out. Repeat. And I'll tell you most people don't know how to have fun. Parties like that are torture. It's like working at Chuck E. Cheese's except for the sequined bra. But the Persian gigs are great. They don't need me there, they're having a good time anyway.

9. It's going where it's going. Although I usually put a hand on my opposite shoulder if a tipper has a certain look in his eye, all bets are off when it comes to the older ladies. A tactfully draped arm across one's cleavage may be a defense for the guys, but it's no match for a determined granny! I've been mauled more times than I can remember by little old ladies.

10. Tah dig with ghormeh sabzi rocks. I know, I didn't have to spend my entire adult life belly dancing to find that out. But boy is it good.

So there you have it -- the belly dancer's confession. Next time you see one of us shimmying away, remember, we're looking at you too!

Persian Dance

Persian Dance

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