Belly dance is a Western term for a traditional Arab dance genre known as raqs sharqi (Arabic: رقص شرقي ; literally "oriental dance") or sometimes raqs baladi (Arabic: رقص بلدي ; literally "dance of country", and so "folk" dance). It is also sometimes called "Middle Eastern Dance" or the "Arabic Dance" in the United States, "danse du ventre", or by the Turkish and Greek term çiftetelli ( τσιφτετέλι ).
Native to the Middle East, and now popular worldwide, belly dance takes many different regional forms, both in costume and dance style, indicating that distinctive dance moves may have been transported to these regions and incorporated with local dance styles.
General
Today there are many forms of belly dance. Some, such as American Tribal belly dance, are clearly modern evolutions of the traditional forms. However, due to the ancient origins of belly dancing, the authenticity of even "traditional" or "classical" forms of the genre are open to question and often hotly disputed.
There are two basic divisions within "traditional" belly dance. The first, raqs baladi, is a social dance performed for fun and celebration by men and women of all ages in some Middle Eastern countries, usually during festive occasions such as weddings. People learn the steps informally from an early age by imitating their elders during family/community gatherings..
The second form, which has become popular in the West, is called raqs sharqi. This is more commonly performed by female dancers but is also sometimes danced by men.
Origins
As with any dance of folkloric origin, the roots of belly dance are uncertain.
One theory claims that belly dancing was originally from Ancient Babylon in southern Iraq. Adnanite Arabs introduced belly dancing and drumming. Before the arrival of Islam the tradition was for women to dance at social gatherings, while the men played the drums. After the Arrival of Islam, belly dancing was banned. During the Ummayad and the Abbasid dynasties, belly dancing was commercially promoted. Local poor women and, later on, slaves from other parts of the world, especially Persia, India and North Africa learned to belly dance to entertain rich men.
During the time of the Abbasid and the Fatimid dynasties, the Arabs settled in Egypt. Egyptians adopted the dance and it became part of Egyptian tradition.
Another theory is that belly dancing is a reworking of movements traditionally utilized to demonstrate or ease childbirth, and was used by women for that purpose. There are numerous oral historical references, backed by commentary in The Dancer of Shamahka. This particularly relates to a sub-set of dance movements found in modern raqs sharqi.
Sudanese dance and dancers from other non-black African countries clearly had a profound if not nascent affect on the art of bellydance. In fact some believe that bellydancing came from Africa and was picked up from Caravan travelers and taken to other parts of the middle east. Unfortunately when promoted soley by Europeans and white Arabs its harder to see this connection.
Costume
In the West, the costume most associated with belly dance is called bedleh (Arabic for "suit"). It owes its creation to the Victorian painters of "Orientalism" and the harem fantasy productions of vaudeville, burlesque, and Hollywood during the turn of the last century, rather than to authentic Middle Eastern dress.
The bedleh style includes a fitted top or bra (usually with a fringe of beads or coins), a fitted hip belt (again with a fringe of beads or coins), and a skirt or harem pants. The bra and belt may be richly decorated with beads, sequins, braid and embroidery. The belt may be a separate piece, or sewn into a skirt.
The hip belt is a broad piece of fabric worn low on the hips. It may have straight edge, or may be curved or angled. The bra usually matches the belt and does not resemble lingerie. The classic harem pants are full and gathered at the ankle, but there are many modifications. Sometimes pants and a sheer skirt are worn together. Skirts may be flowing creations made of multiple layers of sheer fabric such as chiffon, or figure-hugging lycra.
Badia Masabni, a Cairo nightclub owner, is credited with bringing the costume to Egypt, because it was the image that Western tourists wanted.
Since the 1950s, it has been illegal in Egypt for belly dancers to perform publicly with their abdomens uncovered or to display excessive skin. It is therefore becoming more common to perform in a long, figure-hugging lycra one-piece gown with strategically placed cut-outs filled in with sheer, flesh-coloured fabric.
If a separate bra and skirt are worn, a belt is rarely used and any embellishment is embroidered directly on the tight, sleek lycra skirt. A sheer body stocking must be worn to cover the midsection. Egyptian dancers traditionally dance in bare feet, but these days often wear shoes and even high heels.
As there is no prohibition on showing the stomach in Lebanon, the bedleh style is more common. The skirts tend to be sheer and/or skimpier than Egyptian outfits, showing more of the dancer's body. The veil is more widely used and the veil matches the outfit. High heels are commonly worn.
Turkish dancers also wear bedleh style costumes. In the 80s and 90s the art became debased in Turkey and a 'stripperesque' costume style developed, with skirts designed to display both legs up to the hip, and plunging bras. Such styles still exist in some venues but there are also many serious, respectable Turkish belly dancers who wear more moderate costumes. Even so, all Turkish belly dance costumes reflect the playful, flirty style of Turkish belly dance.
American dancers often purchase their costumes from Egypt or Turkey, but hallmarks of the classical "American" style include a headband with fringe, sheer harem pants or skirt rather than tight lycra, and the use of coins and metalwork to decorate the bra.
In Egypt, America and Europe dancers wear full-beaded dresses for the folkloric and baladi dances. But generally costuming varies with the particular style of dance.
Props are used to spark audience interest and add variety to the performance, although some traditionalists frown on their use. Some props in common usage are:
- Finger cymbals (zills or sagats).
- Cane (in the Saiidi)
- Veil - Veils are part of the stereotypical images of courtesans and harem women. Here, the mysterious veil hints at sensuality, an example being the dance of the seven veils. This is the context into which belly dancing veils fall, with a large repertoire of ways to wear and hold the veil, framing the body and accentuating movements. Dancing veils can be as small as a scarf or two, silk veils mounted on fans, a half circle, three-quarter circle.
- Sword
- Candelabra headdress
- Veil poi
- Fire sticks
- Tambourine
- Fan
Steps and Technique
Most of the movements in belly dancing involve isolating different parts of the body (hips, shoulders, stomach etc), which appear similar to the isolations used in jazz ballet, but are often driven differently.
In most belly dance styles, the focus is on the hip and pelvic area. One of the most famous moves in belly dance is the shimmy, a shimmering vibration of the hips. This vibration is created by moving the knees past each other at high speed, although some dancers use contractions of the glutes instead.
Raqs Sharqi
Raqs Sharqi translates from Arabic as "dance of the Orient" or "Oriental Dance". Belly dance is a misnomer as all parts of the body are involved in the dance, and the most important body part is the hips.
Raqs Sharqi is a solo improvisational dance, although students of the art often perform choreographed dances in a group. The most admired Raqs Sharqi dancers are those who can visually communicate to the audience the emotion and rhythm of the music, even if the dance is made up of simple movements.
In common with flamenco, many fans see Raqs Sharqi as celebrating the sensuality and power of a mature woman, and believe that young dancers have insufficient life experience to convey the requisite emotions. Sohair Zaki, Fifi Abdou, Lucy, Nagua Fouad, and Dina Talaat are all popular Egyptian dancers above the age of forty.
Although there are several prominent male performers in the West, they do not dance in public in Arab countries.
Egyptian-style raqs sharqi is based on Baladi, a folk style of dance from the Arab Tribes who settled in Upper Egypt, further developed by 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 artists are Sohair Zaki, Fifi Abdou, and Nagwa Fouad. All rose to fame between 1960 and 1980, are still popular today, and have nearly risen to the same level of stardom and influence on the style.
Though the basic movements of Raqs Sharqi are unchanged, the dance form continues to
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