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Belly dance or bellydance (possibly a mis-transliteration of the dance style Beledi or Baladi) is a Western name coined for a style of dance developed in the Middle East and other Arabic-influenced areas. In the Arabic language it is known as Raqs Sharqi and in Turkish as Oryantal dansı (English: "Dance of the East"). In Europe it was known as "Oriental dance", "danse orientale", "exotic Oriental dance", "Oriental belly dance", and the like. The term "Raqs Sharqi" may have originated in Egypt; the name suggested a dance with exotic origins, which would tend to give it higher status than dances of local origin.

General

Belly dance has been known in Egypt since the pre-Islamic era, based on oral tradition. Many theories exist about the origin of belly dancing, but most evidence links it to the Mediterranean, Middle East and Africa. Egyptian tomb paintings dating from as far back as the fourteenth century BC depict partially-clad dancers whose calisthenic positions mirror those used in belly dancing. It has a long history of depictions in Persian miniature paintings from the 12th and 13th centuries, and was popularized during the Romantic movement in the 18th and 19th centuries as Orientalist artists depicted their interpretations of harem life in the Ottoman Empire. Around this time, dancers from different Middle Eastern countries began to exhibit such dances at various World's Fairs; they were often huge crowd draws, second only to the technological wonders exhibited at the fairs. Some dancers were captured on early film; one short film, "Fatima's Dance", was widely distributed in the nickelodeon theaters. It drew criticism for its "immodest" movement, and was eventually censored due to public pressure.

Some Western women began to learn from and imitate the dances of the Middle East, which at this time was subject to colonization by European countries. Mata Hari is the most famous example, but the French author Colette and many other music hall performers engaged in "oriental" dances, sometimes passing off their own intrepretations as authentic folkloric styles. The great dancer Ruth St. Denis also engaged in Middle Eastern-inspired dancing, but her approach was to put orientalist dancing on the stage in the context of ballet, her goal being to lift all dance to a respectable art form. (In the early 1900s, it was a common social assumption in America and Europe that dancers were women of loose morals.)

Historically, most of the dances associated with belly dance were performed with the sexes separated — men with men and women with women. Few depictions of mixed dances exist. This practice ensured that a "good" woman would not be seen dancing by anyone but her husband, her close family, or her female companions at a get-together. This practice extended to separating the musicians, so that only female musicians could perform for female dancers. This custom continues in many nations of the Middle East. In some areas, a professional dancer will go to a women's gathering with the musicians, get the women up and dancing, then go to the men's portion of the house and perform for the male guests at a function.

Belly dancing legitimizes the natural "roundness" of the female body, in contrast to the modern Western cultural preference for flat stomachs. Most of the basic steps and techniques used in belly dance are circular motions isolated in one part of the body, i.e., a circle parallel to the floor isolated in the hips or shoulders. Accents using "pop and lock" where a dancer either shimmies or makes a striking motion in her shoulders or hips are common, as are feats of flexibility, rolling one's stomach muscles, balancing various props like baskets, swords or canes, and dancing with chiffon or silk veils.

Raqs Sharqi

Raqs Sharqi is performed by both women and men, usually performing solo, to entertain spectators in public or private settings. Despite its alias of "belly dance", Raqs Sharqi dancing uses movements in every muscle group of the body. It is fundamentally an improvisational dance with its own dance movement vocabulary, fluidly integrated with the rhythm of the music.

In Raqs Sharqi, the dancer internalizes and expresses the emotions evoked by the music. Therefore the music is integral to the vocabulary of the dance movements. The most revered Raqs Sharqi dancers are those who can best project their inner emotions through dance, even if their movement vocabulary is very simple. The dancer visually communicates to the audience the emotion and sounds of the music.

Many see Raqs Sharqi as a women's dance, celebrating the sensuality and power of being a mature woman. Sohair Zaki, Fifi Abdou, Lucy, and Dina, who are all popular dancers in Egypt, are all above the age of forty. This school of thought holds that a dancer has limited life experiences to use as a catalyst for dance until she reaches "a certain age".

Egyptian-style belly dance is based on the work of belly dance legends Samia Gamal, Tahiya Karioka, Naima Akef, and other dancers who rose to fame during the golden years of the Egyptian film industry. Later dancers who based their styles partially on the dances of these masters—and who have risen to nearly the same level of stardom and influence on the style—are Sohair Zaki, Fifi Abdou, and Nagwa Fouad. All rose to fame between 1960 and 1980, and are still popular today.

In Egypt, three main forms of the traditional dance are associated with belly dance: Baladi, Sha'abi and Sharqi. The most important non-Egyptian forms of belly dance are the Lebanese and Turkish.

Egyptian belly dance was among the first styles to be witnessed by Westerners. During Napoleon's invasion of Egypt (the campaign which yielded the Rosetta stone, leading to the translation of Egyptian hieroglyphics), Napoleon's troops encountered the Ghwazee tribe. The Ghwazee made their living as professional entertainers and musicians, with the women engaging in a little prostitution on the side. They often had a street dedicated to their trade in the towns where they resided, but some were also quasi-nomadic. At first the French were repelled by their appearance, heavy jewelry and hair, and found their dancing "barbaric", but were soon lured by the hypnotic nature of their movements.

Turkish forms

Some mistakenly believe that Turkish oriental dancing is known as Çiftetelli due to the fact that this style of music has been incorporated into oriental dancing by Greeks and gypsies, illustrated by the fact that the Greek belly dance is called Tsifteteli. However, Turkish Çiftetelli is more correctly a form of wedding folk music, the part that makes up the lively part of the dance at the wedding and is not connected with oriental dancing.

Even though Turkish belly dancing has deep roots in the Sultan's palatial harems of the Ottoman Empire, Turkish belly dance today is closer to its Romany (Gypsy) heritage than its Egyptian and Lebanese sisters, developing from the Ottoman rakkas to the oriental dance known worldwide today. As Turkish law does not impose restrictions on Turkish dancers' movements and costuming as in Egypt, where dancers are prevented from performing floor work and certain pelvic movements, Turkish dancers are often more outwardly expressive than their Egyptian sisters. Turkish dance also remains closer to its Romany roots because many professional dancers and musicians in Turkey continue to be of Romany heritage. Turkish dancers are known for their energetic, athletic (even gymnastic) style, and particularly, until the past few years, their adept use of finger cymbals, also known as zils. Connoisseurs of Turkish dance often say that a dancer who can't play zils is not an accomplished dancer. Another distinguishing element of the Turkish style is the use of the Karsilama rhythm in a 9/8 time signature, counted as 12-34-56-789. Turkish belly dance costumes can be very revealing, with the belt sometimes worn high up on the waist and split skirts which expose the entire leg, although dancers today are costuming themselves more like Egyptian dancers and wearing more modest "mermaid"-style skirts. The Turkish style is emphasized further by the dancer wearing high heels, and often platform shoes, to perform. Famous Turkish belly dancers include Tulay Karaca and Birgul Berai.

When immigrants from Turkey, Armenia, and the Arab states began to immigrate to New York in the 1930s and 1940s, dancers started to perform a unique mixture of these cultures in the nightclubs and restaurants. Often called "Classic Cabaret" or "American Cabaret" belly dance, these dancers are the grandmothers and great grandmothers of some of today's most accomplished performers, such as Anahid Sofian and Artemis Mourat.

Belly dancing in the Western world

The term "belly dancing" (believed by some to be a mis-transliteration of the term for the dance style Beledi or Baladi) is generally credited to Sol Bloom, entertainment director of the 1893 World's Fair, the World Columbian Exposition in Chicago. It was in the Egyptian Theater, where the USA first got a look at raqs dancers, that Bloom presented "The Algerian dancers of Morocco". The dancer who stole the show, and who continued to popularize this form of dancing, was "Fatima", also known as Little Egypt. Her real name was Farida Mazar Spyropoulos and oddly enough she was neither Egyptian nor Algerian, but Syrian.

The dance performed by Little Egypt became nicknamed the "Hootchy-Kootchy" or "Hoochee-Coochee", or the shimmy and shake. The origin of the name is unknown. Another name for the dance is "danse du ventre", which is French for "belly dance". Today the word "hootchy-kootchy" means an erotic suggestive dance.

Because this dance style created such a craze, Thomas Edison made several films of dancers in the 1890s. Included in these are the Turkish dance, Ella Lola, 1898 and Crissie Sheridan in 1897 both located for on-line viewing through the Library of Congress. Another in this collection is Princess Rajah dance from 1904 which features a dancer playing finger cymbals, doing "floor work", and balancing a chair in her teeth.

In addition, the sensational stories of Mata Hari, who was convicted in 1917 by the French for being a German spy during World War I and also the fact that belly dance was only viewable at vaudeville and in burlesque shows gave belly dance a very questionable reputation amongst polite society. Hollywood didn't help by only having three roles for a belly dancer (that of slave to be saved, background dancer while the main characters talk, or deceitful woman who uses her wiles to trick the main character), which created stigmas involving belly dance that many dancers and instructors today are working hard to overcome.

While the beautiful classical Raqs Sharqi is still popular in the West, dancers in that area have also embraced other forms such as Tribal Style and American Tribal Style inspired by the folkloric dance styles of India, the Middle East and North Africa as well as Flamenco. Dancers in the United States, while respecting the roots of Belly Dance, are also exploring and creating within the dance form to address their own needs. Many women today in the U.S. and Europe approach belly dance as a tool for empowerment, visioning and strengthening in the body, mind, and spirit. Issues of body-image, self-esteem, voice, healing from sexual violation, sisterhood, and self-authentication are regularly addressed in belly dance classes everywhere.

Belly dance in the United States

With its initial emergence at the 1876 Philadelphia Centennial, the last four decades of the 20th century moved belly dance in the U.S. more into the mainstream. With the movement of exploration in the East in the late 1960's many people became interested in everything Eastern, including dance. Many touring Middle Eastern or Eastern bands took dancers with them as they toured to provide a visual representation of their music. Many took lessons from teachers where and when they were available. This had the great effect of creating many beautiful dancers who have continued to move belly dancing forward. At the same time it ended up creating diverse names for the same simple movement and the need to have a "style" as each teacher tried to distinguish differences in their way of teaching from other teachers. This has perhaps hampered belly dance from acceptance by the more established dance forms because there is no nationally recognized choreography terminology that can be used to create repeatable dances.

"Cabaret" or "stage" styles have flourished in the US throughout the 20th century due to their flashy and exotic overtones. Often associated with Raqs Sharqi, the mainstays of costuming for these styles include a fitted top or bra (usually with fringe of beads or coins), a fitted hip belt (again with a fringe of beads or coins), and leg coverings that include harem pants or skirts (straight, layered, circular, or paneled). In the U.S. a "veil" may also be used, being a three-and-a-half to four-yard piece of fabric that is used in part of the dance to move about and frame movements for the dancer. In the 1940s King Farouk of Egypt brought Russian ballet instructor Ivanova to teach his daughters, and it was she who first taught the great dancer Samia Gamal to use the veil to improve her arm carriage. Most Egyptian dancers use the veil as an opening prop which they discard within the first few minutes of their routines, while Western dancers will use the veil for an entire song. Recently added costuming options include full beaded dresses, called baladi dresses.

There is a recent movement in the U.S. called American Tribal Style Belly Dance or ATS. It represents everything from folklore-inspired dances to the fusion of ancient dance techniques from North India, the Middle East, and Africa.

Multicultural trends that have shaped Western and U.S. belly dance are still at work. Ever evolving, this versatile dance keeps absorbing a blend of influences — modern fashion, film and television imagery, the world of rock and hip hop, underground subcultures, and many other contemporary influences. The term used to describe the many hybrid forms of belly dance is "belly dance fusion", including "tribal fusion". One of the newest belly dance fusion trends is Gothic belly dance that incorporates many belly dance styles and motifs and seeks to express the darkness of the unknown that has inspired music, philosophies, and lifestyles of the Goth subculture.

Male belly dancing

There is much debate over where and when men became part of the belly dance world. Many believe that men have no place in this art form, which is frequently and erroneously believed to be historically female. However, dancers such as Morocco (Carolina Varga-Dinicu), Tariq Sultan, and Jasmin Jahal have produced ample evidence to the contrary, including historical anecdotes indicating that male eunuchs who guarded the Ottoman Sultan's harems were often dressed up to dance for the palace women. (See Ottoman Empire's rakkas).

No longer mere "set pieces" or props for the women, male belly dancers are becoming more visible. Whether there are or should be differences – in costuming, attitude, and the dynamics of choreography – between male and female belly dancing is a subject of debate among both male and female dancers.

Well-known male dancers in the U.S. from the 1970s onward include Bert Balladine, John Compton, Adam Basma, Ibrahim Farrah, Yousry Sharif, Aziz, and Amir. Some of these dancers are American-born, others were immigrants from the Middle East and Europe. Basma and Farrah were born in Lebanon. Sharif (who comes from Egypt and relocated to the U.S. in the early 1990s) was a member of The Reda Ensemble, the first national dance troupe in Egypt. Directed by Mahmoud Reda, a former gymnast who represented Egypt in the Olympics, The Reda Ensemble has continuously existed for over four decades. There are other male belly dancers across the globe who have made an impact on this dance form, most notably Horacio Cifuentes, who has infused his ballet background with various types of Middle Eastern dance to create an impact on both male and female belly-dance styles.

Given the recent boom in interest regarding belly dance, a new generation of male dancers has embraced the form. As with female dancers, many of these "next-generation" male dancers go by a single name.

Health and belly dancing

The benefits of belly dance are both mental and physical. Dancing provides a good cardio-vascular workout and helps increase both flexibility and strength, focusing on the torso or "core muscles", although it also builds leg strength. Many belly dance styles emphasize muscular "isolations", teaching the ability to move various muscles or muscle groups independently. Veil work can also build arm, shoulder, and general upper-body strength, and playing the zils can build strength and independence of the fingers. Belly dance is suitable for all ages and body types, and can be as physical as the participant chooses. As with starting any new exercise routine, individuals would be wise to consult their doctor before starting a belly dance regimen. One should also talk with the belly dance instructor to find out the level of difficulty in his or her classes. For many belly dancers, the practice offers mental health benefits including an improved sense of well-being, elevated body image and self-esteem, and a generally positive life outlook that comes with regular, enjoyable exercise.

Anecdotal evidence suggests that a history of belly dancing may benefit women preparing for childbirth, as the movements strengthen and tone the pelvic floor muscles and the woman becomes more familiar with the way her muscles work. The hip-circling movements used in the dance may relieve some of the common discomforts of labor.

Prohibition of belly dancing

Belly dancing has been banned or restricted in some jurisdictions.

In Egypt, there was a ban on foreign belly dancers. It lasted for a year, and was overturned in September 2004.

Incoming Palestinian National Authority culture minister Attallah Abu al-Sibbah has indicated that he plans to ban belly dancing.

Notes

1. Washington Times: Egypt allows foreigners to belly dance September 5, 2004.
2. The Guardian: Bellydancing out, cinema in, says Hamas April 6, 2006.

Sources

• Donna Carlton (1995). Looking for Little Egypt. Bloomington, Indiana: International Dance Discovery Books. ISBN 0962399817.
• Belly dancing
• Serena and Alan Wilson (1973). The Serena Technique of Belly Dancing. New York, NY: Pocket Books.
• Julie Russo Mishkin and Marta Schill (1973). The Complete Belly Dancer. Garden City, New York: Doubleday and Company Books. ISBN 038503556x

See also

• Dance basic topics
• List of dances
• Zil
• Category:Belly dancers

External links

• Middle Eastern Dance - A great resource with lot's of how-to's
• Belly Dance Museum
• ShiraNet: The Art of Middle Eastern Dance
• The Middle Eastern Culture and Dance Association
• Rakkasah Dance Festivals
• The Hip Circle Magazine : All things belly dance

• Dances of Middle East
• Historical dance
• Dance
• Bellydance
• Dancecraft