抗争性别成见——肚皮舞男的故事

2018年3月22日

星期四

Belly dancing is often seen as Orientalist, erotic and undeniably feminine – but one Lebanese performer is using it to fight for gender fluidity.

肚皮舞通常被看做东方的，性感的并且毋庸置疑非常女人味—不过有一名黎巴嫩的舞者却用它来争取性别流动性。

In the Middle East, the word 'belly-dancing’ is never used for this languorous dance form; it’s called 'baladi’ – best translated from Arabic as 'folk’ – and was originated in Egypt, though several variations exist throughout the Arab world.

在中东，从来不用“肚皮舞”这个词来描述这种慵懒的舞蹈形式；它叫做“巴拉迪”—阿拉伯语最好翻译成“民间舞”—起源于埃及，不过在阿拉伯世界里也有好几个变种。

In the 40s and 50s, Egyptian cinema was full of curvaceous baladi dancers who were respected as the Marilyn Monroes and Sophia Lorens of Middle Eastern cinema.

在四五十年代，埃及电影里遍布曲线优美的巴拉迪舞者，在中东电影里，她们受到跟玛丽莲.梦露和索菲亚.罗兰同样的尊敬。

But as the golden age of Egyptian cinema faded and religious conservatism increased in society, baladi was marginalised and associated one-dimensionally with male arousal.

但随着埃及电影黄金时期的过去和社会中宗教冲突的增加，巴拉迪逐渐被边缘化，并单向地跟诱惑男性联系在了一起。

Alexandre Paulikevitch is one of the few male baladi dancers in the Middle East.

亚历山大.保利维奇是中东为数不多的巴拉迪舞者之一。

He learned how to dance from watching Egypt’s black and white movies and now performs as a soloist, challenging his audiences to think differently about baladi – not only as a post-colonial dance that’s distant from 'belly-dancing’ or 'danse orientale’ but as a dance that men and women alike can perform.

他是看早起埃及黑白电影学会了跳舞，现在是一名独舞演员，正给挑战着观众们看待巴拉迪的眼光—不仅把它看成是不同于“肚皮舞”或者“东方舞”的殖民地时期后的舞蹈，并且也要把它看作一种男性和女性都可以表演的舞蹈。

Though Beirut is one of the region’s most open-minded cities towards the LGBT movement, Alexandre has had to fight to be respected as a gay performer who is freely expressing his feminine side.

尽管贝鲁特是中东地区对待同性恋和跨性别者运动最开放的城市，亚历山大作为一名同性恋表演者，自由地表达自己的女性化的一面还是需要通过努力才能赢得尊重。

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