For the love of belly dancing

Orientalsk dans

Belly Dance is Belly Dance, isn't it? You mean to tell me there are different styles? Yes, Habibi, there are!

Once you get beyond the initial introduction to the ancient art of oriental dance, you discover a whole world of beautiful movement, culture, music and art. The center for all Middle Eastern art is Cairo, Egypt. There you can find countless talented musicians, many dancers, and many places to dance. It is to Cairo where the best singers go to record their music. Cairo is the Hollywood of Middle Eastern film making. The most famous dancers work in Cairo. Even the most popular seamstresses of belly dance costumes are found in Cairo. Cairo creations set the trend for all kinds of Middle Eastern art.

Cabaret costumes, also known as classical oriental costumes, are hand-sewn and designed by several top designers in Cairo, such as Madame Abla. What makes these costumes Egyptian, other than the fact they were sewn in Egypt? Well, let me explain a little about the difference between Egyptian style and styles from other Middle Eastern countries. For simplicity's sake, let us choose the country with the greatest contrast to Egypt. Let's compare Egyptian style to Turkish style.

Belly dancers in Cairo today are wearing fully-beaded, sequined and rhinestoned bras and belts. This has been the style for the last 20 years. It is very glamorous and elegant. The bead-work is hand-strung. Over the last two decades, the length and total amount of beaded fringe has gone from long and abundant to short, if any at all. While the skirts now come in a variety of lengths and widths, the style is still quite classy. Also, dancers in Cairo who wear a classical oriental costume, but wear a body stocking or netting over their midriff, no matter how much leg may be exposed. It is still illegal to dance in public with an uncovered navel.

Not true in Turkey, however. In Istanbul it seems that the more skin that is revealed, the better. Turkish style costumes are fully beaded, like the Egyptian style. However, the belt is worn much higher, almost to the waist. The slits in the skirt go all the way up to the belt exposing a great deal of thigh. There is the illusion that the dancer can't even wear panties under the skirt and belt! (Or is it an illusion? It is a popular trend in Istanbul to go completely without panties!)

Egyptian style belly dance primarily uses classical as well as modern music produced in Egypt with Arabic rhythms. Turkish belly dance music is similar to Greek and Armenian. It is usually faster than Egyptian dance music, and often there are less rhythmic changes. That is not to say that a Turkish style dancer can't dance to Egyptian style music. It happens all the time. And, of course, vice versa. However, one who is trained in classical Egyptian dance would not feel as comfortable with a Turkish Karsilama as with, for example, a masmoudi.

There is also a notable difference in the actual dance technique. Egyptian style movements are very precise, with the hips held under the rib cage. Turkish style often leans the upper torso back, pushing the pelvis forward. Also, it is not "in vogue" for an Egyptian dancer to do floorwork, while it is very popular in Turkish style.

Now, of course, given artistic license, a dancer can do almost anything - hopefully, in good taste. But what I would like to point out is that there is a definite uniqueness to Egyptian style, and as a student of belly dance, you should be aware of what style you are learning. Ask you teacher about it! She should know what her specialty is. And just like in any art form, a specialist is better qualified to instruct that specific technique than someone who claims they mingle a little of this and a little of that.

Now, I haven't mentioned the realm of Folkloric Egyptian dance and costuming. That is a huge arena that we will slowly explore in upcoming articles.

In the Middle East and North Africa, the solo “belly dance” (actually, there it is called by various names, such as Raks Sharqi, but not “belly dance”) and similar folk dances continue to thrive. In some strict Muslim countries where most women would not dare to dance in public mixed company, they nevertheless spend many hours dancing for each other away from the eyes of men. In Egypt, belly dancers are often among the most popular performing artists, and the most famous have their own orchestra and other staff. Some of the tribal peoples of North Africa have "belly dance" rituals for trance purposes, wedding engagements, childbirths, and other ceremonies.

Bellydance also enjoys a wide following in Western countries, especially the U.S. Here, dancers and audiences appreciate bellydance for a variety of reasons--its affirmation of the female body and female community; its creative, strong sensuality which need not compromise the performer nor force her into a merely titillating role; its aura of gypsyesque fantasy with swirling colored costumes and glittering jewels; its haunting music; its tie to an ancient, distant culture. In the U.S., dancers perform in Middle Eastern restaurants and nightclubs, entertain both Middle Eastern and non-Middle Eastern audiences for birthday parties and other celebrations, and stage theater performances.

Bellydance emphasizes the undulation and rhythmic isolation of the torso, abdomen, and hips, as well as the expressive use of the hands, arms, face, and head. Like other dance forms, it provides enough intricacy and technical difficulty to challenge the most dedicated student, but it is equally dependent upon the emotional and spiritual depth a dancer can convey. Hence, some of the most appreciated belly dancers are not necessarily the most technically gifted, and many fans feel that bellydancers do not come into their prime until their 40's or so.

The sinuous movements of belly dance glorify any shape of female body. A good dancer expresses the music wholly, as if she were an instrument of it. (In conversations with my audiences I like to point out the difference between the dancer who is slave to a "sultan" and the dancer who is slave to the music.) The movements and moods range widely from fast spins and direct eye contact to slow undulations on the floor with the dancer's eyes lowered.

In general, knees are slightly bent, the pelvis centered (neither pulled forward nor released backward),  the ribs detached and lifted from the hips. From the hips downward the dancer feels and conveys solidity, gravity, earthiness, rhythm. From the ribs upward she is usually lifted, lyrical, elegant. The belly is the center, balanced between these two forces, often alive with a rolling, rippling movement of its own.

photo by Robert Hunt