Explore the benefits of the belly dance

Belly dancing is an art form that provides many benefits for those who choose to do it. It is a liberating way to increase physical, spiritual, and emotional well-being. Because belly dancing is a living art, many people feel that it is a type of dance that is beyond their abilities, but the truth is that anyone can do it. Your method for learning belly dance will depend on your personal learning style and the amount of money you wish to put into this new hobby.

Belly Dance Class

What are the benefits of a belly dance class? In a class, you are able to interact with an instructor and also your fellow classmates. In such a setting, you can know for sure whether you are doing the moves right, because the instructor can correct you and can go over the moves until everyone understands exactly what to do.

And the camaraderie of meeting up with others interested in belly dancing is something you can’t get from a video or from practicing on your own. However, if you’re a shy person or prefer to learn things by yourself, a dance class probably wouldn’t be right for you. A belly dance class is also more expensive than a one-time purchase of an instructional video.

Belly Dance Video

A belly dance instructional video is probably the cheapest, easiest option for learning to belly dance. You can purchase an inexpensive belly dance DVD online or from most bookstores. The benefits to using a video are many. You can begin as soon as you’d like to, it’s inexpensive to get started, and you can work and learn at your own pace. For those who get embarrassed about dancing in front of others, a video is the way to go.

The downside to using a video to learn belly dancing is that you miss out on the intensity and joy of dancing with others. Working out alone in your living room is never going to be quite as fulfilling as dancing in a studio alongside other people. Also, the quality of instruction you get from an in-person teacher can’t really be reproduced with a video.

Private Teacher

A third option for learning belly dancing is using a private belly dance instructor. This is kind of a hybrid between the video and the belly dance class. You won’t be dancing in a room full of other people, but you won’t be all alone, either.

Private belly dance lessons can be a great way to learn belly dancing quickly and thoroughly. The instructor can focus specifically on your needs. Because the focus is completely on you, it’s very likely that you will be able to learn to belly dance quite well. You can gain confidence in your dancing quite quickly this way. The only downside to private instructions is that it will likely cost more than a belly dance class would cost.

Whether you prefer to learn to belly dance at home using a video or with a class and an instructor, belly dancing is rewarding and challenging. You can always start with a video and then take a class after that. Or, you can take a class and use videos as a supplement. And once you have the basics of belly dancing down, you may wish to try a private instructor. The way you learn to belly dance doesn’t really matter. What matters is that you give this wonderful art form a try!

Some people assume that belly dancing is a burlesque dance; a stripper-type dance meant for seduction. This myth probably exists because Western culture and the media have perpetuated this stereotype. However, it simply isn’t the case.

Belly dance is a traditional  folk dance of the Middle East, performed by women and girls when they are together. And it is also a dance for families, especially on occasions for celebration such as weddings and family reunions. In other words, it is a social dance, sometimes referred to as raqs beledi.  The term beledi, meaning “of the country”can also be applied to the music, as in beledi Arabic dance music, which has a  particular rhythmic style, common in music from the Middle East. Beledi is often spelled baladi, or balady.

Today, the Arabic belly dance is a dance form that can be enjoyed by the whole family. It is an oriental dance done for enjoyment, for entertainment, for exercise, and for many other reasons. Belly dancing isn’t related to stripping or seduction at all.

Another myth that circulates about belly dancing is that you must have a flat stomach or a killer body in order to participate in belly dancing. Nothing could be further from the truth. Women of all body types enjoy belly dancing. And not all belly dance costumes reveal the midriff section. There are more modest costumes that cover more of the body, for those that aren’t comfortable revealing too much.

At the same time, belly dancing doesn’t have to take place on a stage or in a performance at a restaurant. It can also be done just for fun, in a class or by yourself; no one needs to see you dance at all. And for those who are looking to improve the shape of their body, belly dancing is a good way to exercise and get in shape. There is no specific body shape that is required to do belly dancing.

Some people feel that belly dancing seems too hard for the average person to figure out, but the fact is, it doesn’t have to be difficult. Belly dancing involves movements that are natural to the female body. The moves are flowing and gentle.  The coordination and grace that so many belly dancers exhibit was learned as they practiced belly dancing. Anyone can learn the moves and gain new coordination as they dance. It just takes practice.

Some women feel that because they aren’t young, that belly dancing is not for them. The reality is that women of all ages enjoy belly dancing. It can be an empowering dance form that can boost self-esteem and provide many physical benefits. There is no age limit or reason that a woman of any age can’t belly dance.

Arabic Belly dancing is a beautiful art form and a relaxing way to get exercise and enjoy movement and music. And, if desired,  there is available Arabic belly dance videos for instruction and also  plenty of Arabic belly dance music Cd’s too. The internet can guide you on where to acquire these.

Belly dance is not a dance of seduction, and it can be done by anyone of any size or shape. Many of the myths and beliefs about belly dancing simply aren’t true, and they prevent people from trying out and enjoying a wonderful dance.

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Belly dance music and Arabic belly dance music is a broad genre of music and includes music from Turkey, Lebanon, Egypt, and other Middle Eastern countries. The type of music to use while belly dancing depends on the style of belly dance and whether the person is performing, practicing, or just belly dancing for fun or as a hobby. Read on to learn about some of the basics of choosing belly dance music.

Music from the Middle East is very different from Western music. While Western music relies on melody and a varying rhythm, Eastern music primarily uses rhythm to carry the music. This type of music allows for improvisation, as the music is very free and flowing. Music used for belly dancing is very rhythmic and is very suited to the graceful, fluid movements done in belly dancing.

Types of Music for Practicing Belly Dance

If you’re interested in learning Arabic belly dance, it’s important to use authentic belly dance music to practice with. Belly dance music, whether Egyptian, Turkish, or Arabic, has a specific type of rhythm that can take some getting used to. Practicing with Middle Eastern music will help you use belly dance moves correctly. CD’s are available of both Arabic belly dance songs and Arabic belly dance music.

When practicing belly dance for fun or simply mixing belly dance in with other dance styles, there is no need to be constrained to a specific type of music. Similarly, if you are using belly dance as a way to get in shape, the music used doesn’t matter. Simply choose music that inspires you or is easy to dance to.

Belly Dance Music and Performing

Though most people do belly dance for fun or enjoyment, there are some who take it to the next level and take steps to perform belly dancing in public. Those who seek to perform as belly dancers must choose music carefully, as the music sets the tone for the dance. If you wish to be seen as an authentic belly dancer, then authentic music must be used.

It is also important to use music that matches the style of dance you are doing. If, for example, you do a Turkish style belly dance performance, then you should find authentic Turkish dance music. An Egyptian style dance will need authentic Egyptian music as accompaniment.

An exception is when you are doing a fusion style belly dance number. Fusion combines traditional belly dancing with more modern genres such as jazz or hip hop. A performance of this nature can go well with any type of music you choose, but be sure to denote that the dance you are doing is fusion style. Study up on belly dance styles to make sure and choose music that matches.

Choosing the right belly dance music is important, especially for those who wish to perform professionally or those who want to learn about the culture and history of belly dancing. When dancing for fun, any music can be used. And when performing,  it is helpful to know the style of belly dance and choose the music accordingly.

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About Belly Dance, introducing
background information of general interest

From our colleague Adiba

Belly Dance Props

Belly dancing, which is the westernized version of the traditional Arabic dance called raqs sharqi, has evolved over time and encompasses many dance styles. In many of those  styles of belly dancing, props are used to enhance the dancing and make it more interesting and enjoyable. These are some of the basic props that may be used while dancing:

Zills or Finger Cymbals
Finger cymbals have been used in traditional belly dancing for hundreds of years, and at least as far back as 500 A.D. Finger cymbals, called sagat in Arabic or zills in Turkish, are placed upon the thumb and middle finger of both of the dancer’s hands. They can add interest to the dance performance, as well as to the instrumentality and rhythm, and also to any Arabic belly dance song that may accompany the Arabic belly dancing performance.

Finger cymbals vary in size, style, and materials used. The type used is generally left up to personal preference and the style of dance being done. The cymbals are attached to the fingers with an elastic band, and can make a resonant or dull sound, depending on the way they are struck together.

Belly Dancing with a Veil
Veil dancing has really only taken place within the past century and mostly came about from influence from western culture. Although dancing with a veil is not as traditional in belly dancing, it is still a very popular part of belly dancing. Veils provide an aura mystery and femininity.

A veil is made of light fabric such as silk that flows freely. Dances done using a veil are usually slower, using softer music. The veil can be wrapped around the belly dancer’s body, it can be held up by the dancer so that it flows behind her as she moves and spins, and can be used in many other ways to accent the dance.

Cane Dancing
Dancing with a cane in belly dancing comes from dances in Upper Egypt, traditionally done by shepherds. The male version of the cane dance is called Tahib, and it is masculine with a martial arts emphasis. Women later adopted the cane as part of belly dancing, but they adapted it to be more flirtatious and light-hearted.

The canes women use in belly dancing are more delicate than those used for the male version of the dance. The cane is usually made from bamboo with a hook on the end.

Sword Dancing
Using a sword as a prop in belly dancing was not traditionally done by women in the Middle East. In Egypt, men performed a martial arts dance with an upraised sword, but using a sword during belly dancing comes more from western influence.

In America and other western countries, swords are used to demonstrate a woman’s balance, power, and poise. During belly dancing, the sword is balanced on the head and in the hands, and the sword is generally dull in order to protect the dancer and her audience. Sword dancing can be very dramatic and interesting when done properly.

There are many different props that can be used in belly dancing. Many of the props have a historical context and come from some of the traditional dances of the Middle East, while other props are heavily influenced by western culture. Props can add interest and enjoyment to belly dancing.

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About Belly Dance, introducing
background information of general interest

From our colleague Adiba

Belly Dance Costumes

Arabic belly dancing has changed over the years. The dance form, beginning as a traditional and enjoyable pastime for women in the Middle East, has evolved and incorporated many of the styles and ideas from western culture. This is very evident in belly dance costumes. From traditional to a mixture of modern, described below are several costume styles that are popular among belly dancers today.

Cabaret or American Restaurant
A cabaret-style belly dance costume is probably the most recognized and the one most people think of when they hear the term ‘belly dancing.’ This costume is usually flashy, with colorful fabrics and beaded accessories. It usually consists of a bra-style top, a skirt, and a belt to enhance the belly dancer’s moves. Egyptian Cabaret and Turkish Cabaret are both included in this style of costume.

Egyptian Style
The Egyptian Arabic belly dance style of  costume consists of a full dress or a bra and skirt with a hip belt. Costumes today are usually decorated with beading, sequins, rhinestones, or fringe. In Egypt, it is illegal to show a bare midriff. Therefore, a body stocking or some type of netting is worn under the costume.

Turkish Costumes
Turkish belly dance costumes are generally a more revealing cabaret style than most. The dancer usually wears the belt higher on the waist, and the skirt contains splits that reveal most (if not all) of the thigh. In addition, Turkish costumes also often include high-heel shoes that accentuate the dancer’s movement.

Upper Egyptian Beledi
The Beledi style of belly dance costume is an Egyptian costume that is more folkloric and traditional. This style consists of a long dress, usually made of natural fibers and made from glittery material. Arabic belly dancers often use this style to perform dances that are more folkloric in nature.

American Tribal Costumes
The American tribal style of belly dancing was created in America in the 1970s. Although it originated in America, it is a style that is becoming popular around the world. The tribal costume is influenced by a variety of sources including tribes from Northern Africa and Asia. Tribal dancers usually wear layered skirts, bras that are decorated with coins, and hip scarves decorated with fringe. They also usually wear heavy jewelry and use khol to paint their faces or tattoo their bodies.

And Many Others
There are many different belly dance costumes and styles, and each one is a way for the belly dancer to distinguish herself. Many of the belly dance costume styles are a fusion of traditional Middle Eastern styles and western influence.

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About Belly Dance, introducing
background information of general interest

From our colleague Adiba

Belly Dance for Health

The Arabic belly dance is a traditional dance originating in the Middle East. Though many people in western culture equate belly dance with a seductive style of dance, belly dancing actually began as a folk dance used to celebrate and enjoy time together. Belly dance can be used today for enjoyment and can also be used to increase overall health.

Belly Dance as Exercise
Arabic belly dancing is a great way to get exercise. Because it is low impact, it does not cause stress to the joints as some forms of exercise can. This allows just about anyone to participate in belly dancing, no matter what age or shape they are in. The soft and graceful movements work with a woman’s body rather than against it. The movements are natural and allow a woman to enjoy belly dancing at any age.

Health Benefits of Belly Dancing
There are many health benefits that come from regular belly dancing. Most people use exercise to lose weight, and belly dancing can also be used for weight loss. And imagine the Arabic belly dance fat burning capacity. Depending on the style and intensity of the dancing, belly dancing can burn up to 300 calories per hour. And although weight loss is not important for everyone, for those looking to lose weight, belly dancing can help.

Another benefit of belly dancing is that it can help lower stress levels. Like Tai Chi, belly dancing uses flowing and repetitive movements that relax the body and mind. Belly dancing can be almost like a form of meditation and can help clear the mind.

For those suffering from back pain or joint pain, belly dancing can help. Because belly dancing incorporates movements that are gentle and repetitive, the muscles are stretched and joints receive gentle movement. Belly dancing gives the hips and lower back a full range of movement. This can help relieve back and hip pain, improve posture, and counteract disk pressure from a sedentary lifestyle.

There are many other benefits to belly dance, including an increase in bone density. Belly dancing is considered a weight bearing exercise, which means it can help increase bone density when done regularly. Belly dancing can also aid a woman in preparing for childbirth, as the movements done during belly dancing strengthen the muscles needed during childbirth.

There are definite health benefits and advantages to taking part in belly dancing. While the health benefits are only a side benefit for those looking to enjoy the art form of Arabic belly dancing, it is a side benefit that increases enjoyment of belly dancing and can increase a person’s general health.

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The biblical story of Salome and John the Baptist, gruesome, dramatic, and sensational, is very familiar to many, if not most, in the Christian world even to those who do not actively support the religion.

In the Christian bible’s New Testament, the Gospels of both Matthew and Mark provide a brief account of how Herod Antipas, the ruler of Galilee in ancient Palestine about 2000 years ago, came to order the execution of John the Baptist, also known as John the Baptizer, a major figure in the foundation of Christianity.

Matthew and Mark tell how, on the occasion of a birthday celebration, Salome, Herod’s stepdaughter, performed a dance that so delighted Herod, he rewarded her by saying, as an oath, that he would grant her any wish to the extent of half his kingdom. Salome asked her mother Herodias what to do and Herodias told her to ask for the head of John the Baptist on a platter. Herodias carried a hatred of John the Baptist because he had loudly and publicly denounced her marriage with Herod as being adulterous because their union followed the divorce of Herodias from her first husband, who was the half-brother of her new husband Antipas, and who was still alive. Such a marriage was in conflict with the Mosaic law of the Jewish people.

Over the centuries, the story of Salome has acquired a lurid reputation in the imaginations of many, some of whom suggest that her dance must have been exceptional to have caused such an extreme response from Herod, that it was probably an ultra sensuous and erotic Arabic belly dance.

But it is hard to believe that a dance performance, however exotic, sensuous, or whatever, could ever possibly evoke the rash promise claimed to have been made by Herod Antipas, and even less reasonable that the specific request could be the response, and finally that even if those did take place that Antipas would have granted such a macabre wish.

The bible story prompts the conclusion that it could have been some form of the Oriental dance that we recognize as the belly dance and since the belly dance is the established topic of this blog-site dealing with Arabic belly dance, it is appropriate to dig a little deeper to identify sources, knowing also that Salome has been a favorite subject and inspiration in literature, art, and music.

As it turns out, the sources are few, in addition to the two Gospel references of Mark and Matthew mentioned above, the only other reference relating to the events leading to the execution of John the Baptist is a non-biblical account provided by Josephus, a Jewish historian and military general, also known as Flavius Josephus, who will be referred to below.

Those three simple short references of little detail have inspired painters, dancers, composers, to almost an industry of gory depictions of Salome with the decapitated head of John the Baptist. Famous among them being Oscar Wilde’s stage play Salome, and based on that there is a one act opera, Salome, by Richard Strauss, and there are so many paintings by some of the greatest of artists, too numerous to mention, but giving the world many wonderful works of art.

The only date we have for the death of John is obtained from the writings of Josephus who places it at no later than 36 CE, (CE = Christian Era) whereas the Gospels merely date John’s death to before the crucifixion of Jesus.

The Gospel of Mark was written, it is believed, between 65 and 75 CE, some 30 to 40 years after the event and most scholars date the Gospel of Matthew to between 70 and 100 CE. So neither of them were contemporary to the dates ascribed to the death of either John or Jesus. Josephus lived from about 37 to 100 CE, so he was near contemporary, if his date of before 36 CE for John’s death is correct

And what do those few references tell us?
First the Gospels: It is interesting to note that the specific name of Salome does not appear in the Gospel verses dealing with the dance but in both Matthew and Mark the dancer is identified as the daughter of Herodias and would therefore have been the step daughter of Herod, the daughter of his wife from her first marriage. And we do not know the age of the daughter.

In the contemporary English translation of the New American Standard Bible, the six verses of Matthew, chapter 14:6 to 14:11, tell us:

6 When Herod’s birthday came, the daughter of Herodias danced before them, and pleased Herod.
7 Thereupon he promised with an oath to give her whatever she asked.
8 And having been prompted by her mother, said, ”Give me here on a platter the head of John the Baptist”.
9 And although he was grieved, the king commanded it to be given because of his oaths, and because of his dinner guests.
10 And he sent, and had John beheaded in the prison.
11 And his head was brought on a platter and given to the girl and she brought it to her mother.

The verses from Mark, chapter 6:18 to 6:27, tell the very same story and neither authors name the dancer. Strange perhaps that the daughter was not named, so how do we know her name? From Josephus, he identifies her as Salome, but separately, in a passage dealing with family relationships not related in any way to the death of John the Baptist,

Josephus: In his book: Jewish Antiquities, chapter 18, Josephus tells of the execution of John but with no mention of Salome or Herodias or the name of any daughter whatsoever, or a banquet or a dance.

Josephus simply states that Herod was fearful because of the influence John had over the people that might lead them to rebel. Herod thought that by putting John to death it would prevent any mischief he might cause and that if it was not done, he himself would end up regretting it. In the words of Josephus: “Accordingly he was sent a prisoner, out of Herod’s suspicious temper, to Macherus, and was there put to death”.

So those are the three short references, two of which mention a dance and the death of John being the result of the fulfillment of a foolishly vowed promise made by Herod Antipas and the third attributed to a political move to pre-empt any unrest by his subjects, as it happened it was successful in as much as no unrest occurred.

None of the three reasons can be ruled out, they could all be true and the world will continue to accept the biblical verses. But if one version had to be chosen, the scientific guideline rule of Occam’s Razor might be applied, which basically states: when faced by alternative and equally plausible explanations it is wisest to select the one with the least number of factors, the easiest to understand. In which case I would conclude the Josephus reason is best, Herod Antipas acted to protect his own interests.

And what about the dance, if there was one? That does bring up a couple of points, one is that we don’t know the age of the daughter who danced, she may have been a girl, quite young, and secondly, whatever her age, would it be acceptable in those regal circumstances that a female royal family member would be called upon to entertain a select group of powerful men under the command of the king? And if a dance, what is the likelihood that it would have been a sensuous form of belly dancing?

On the first point, from visiting the Gilded Serpent website, in an article by Qan Tuppim, I learned that the old testament Greek from which the bible was translated refers to the daughter as a “korasion”, meaning a young girl not old enough to be married. And on the second point it is stated in the same article that it was appropriate for women to dance for their male relatives. But as noted above, the banquet guests included many males who were probably not relatives.

In conclusion
So, the supposed exotic and inflammatory belly dance of the real Salome is a fiction for which the bible is not responsible. But of course, there are other extraordinary events described in the bible that are not fiction, and some of those might be considered exotic and inflamatory. But that’s another story.

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The gypsies settled in the Middle East, from Persia, now Iran, to North Africa, and in many parts of central and eastern Europe, from the Balkans to Spain and beyond. In the 16^th century England, Shakespeare mentioned them, where they are thought to have arrived from Egypt. I recall myself as a boy in England seeing the horse drawn Roma Caravan traveling down the village street or parked at the fairground.

The Caravans, Gypsy Encampment near Arles 1888, Vincent Van Gogh

The gypsies were not readily accepted into main stream society and were often persecuted, as is still happening in parts of Europe even today.  The Romany retain many of their tribal associations and have preserved many dialects of their ancient language of Indian and Hindu origin.

But here, we are especially interested in the gypsy dancers. Gypsy tribes had a notable presence in Turkey and Egypt where they adopted many of the most ancient dance forms and dance rhythms of their new found lands. And in Egypt, the gypsy dancers known as the Ghawazee, said to mean “invaders of the heart”, were especially prominent, and for several reasons.

The ancient Arabic dance, the dance known in the western world since the end of the last century as the  “belly dance”, has long been, in the world of the Middle East, a special form of folk dance, called beledi,  performed on family occasions, at parties, anniversaries and such, usually within the confines of a private household or living quarters, an entertainment for young and old.  In Egypt, the Arabic belly dance was also performed in public by the Ghawazee gypsy dancers as a means of earning money.

A puzzling circumstance that might be worth raising here
Puzzling because the Oriental dance, meaning the dance from the east, also known as the Arabic belly dance, as well as being the family activity mentioned above, can have another character. In a family setting, the dance is just a dance, I’m sure there are no shades of sensuousness that can be otherwise connected to it by some extreme interpretations. Neither would there be that connotation for the popular involvements of today in our western world where we attend belly dance classes for enjoyment and personal development. But the puzzle remains because of other representations of the belly dance that have prompted so many comments from witnesses who have described some dance performances in the most critical ways, especially discussing their lewdness and overt sexual movements, whatever those may be. Such observations are nothing new, it certainly has been commented on for two thousand years or more, from Roman times to the present day. A case where interpretation really is everything. Perhaps further remarks on this topic should be made elsewhere at another time and place. But everyone who reads this is welcome to comment.

Getting back to the gypsies: it is a long time since the arrival of the gypsies in Egypt and we have few records to tell us how things have changed over the intervening many years but the dances apparently have changed little and thus provide a link with the past.

For the hundreds of years before the age of travel and communication, much of the world was unknown and mysterious for the majority of living people. Slowly the veil was lifted, especially so starting in the latter part of the nineteenth century when artists and journalists eagerly sought out and visited the lands of the Middle East and beyond, from where they reported and recorded the exotic and colorful sights they saw and visited. The world became aware, things began to change.

In Cairo in the twentieth century, the café and nightclub entertainment scene was established with dancers and acts specially tailored to meet the tastes of overseas visitors, eager to see what they believed to be an exotic Egypt and Middle East. It wasn’t necessarily authentic but it had excitement. A little earlier, in the 1870’s, the American author Charles Leyland remarked that most travelers, if given the choice, would rather see the dancers than the pyramids.

The Almeh and Ghawazee, the Oriental dancers of Egypt
Long before there were nightclubs there were paid dancers, skilled in the Oriental dance, the Arabic belly dance, they would entertain at festivals, celebrations, family gatherings and such. There was also a form of public street dancing.

The Almeh
Not gypsies, but more than 200 years ago the Almeh, named from the Arabic, the singular form being Awalim, were important and highly regarded entertainers, singers and dancers, catering to an educated Egyptian society. They were themselves well educated and cultured. They lived as a separate group and as entertainers they were well paid, attending at festivals, celebrations, banquets and family gatherings. They were frequently welcomed into homes and sometimes into harems, the harem being the quarters and resting place of the female family members from which non-family males are excluded.

When Napoleon conquered Egypt, 1798 to 1801, many of the Awalim felt so mistreated and disrespected by the French troops, they left the city of Cairo and did not return until the occupation was over. And the gypsy dancers, the Ghawazee described below, were also treated badly by Napoleon’s soldiers, many of them were killed when, apparently, they were merely being a nuisance as camp followers.

The Ghawazee
Unlike the educated and welcomed Awalim, for the Ghawazee the situation was quite different, they were considered to be of a much lower class. The Ghawazee would not be involved with the higher standing members of Egyptian society. But there were always exceptions.

The Ghawazee were the gypsy dancers of Egypt whose families, even with hundreds of years of history of residence in the country were little accepted by the rest of the Egyptian population. They have remained as gypsies and usually stayed at the fringe, considered as outsiders and tending to live on the edge of their communities.

Apart from their dancing skills, they were often little respected and, in the main, carried with them an unsavory reputation, seen as living off their wits, often blamed as thieves. So they were usually not welcome in peoples houses, as were the Awalim, and even recently, a gypsy dancer lamented how no Egyptian family would allow their sons to marry her. But it should be added that not all gypsy families were poor or unreliable.

David Roberts, 1847 Lithograph: The Ghawazee Dancing Girls of Cairo

Before modern times, certainly a hundred years ago, Ghawazee would travel from place to place. Often superb dancers, they would be hired to entertain for many occasions, often in family teams, dancing the day away, accompanied by their musicians. But they were not normally invited inside homes but had to entertain from a courtyard or outside the building or perhaps in a public place.

The Ghawazee were sometimes hired for less reputable male gatherings with which the Awalim never associated. They also danced in the public streets for money and they have been accused at times of allowing their performances to become a little more risqué than necessary. The words “lascivious movements of the body” have been mentioned from time to time. And the final criticism is that they were, or some of them were, not averse to prostitution. It is probable too that some of the Awalim were prostitutes also.

But those were many years ago and times have changed, there is a whole new influence from the American and Hollywood style of Arabic belly dancing and costuming, picked up by the Egyptians, copied and used in their successful movie industry and until fairly recently there was an active nightclub and entertainment scene that has helped build  star careers for many Egyptian dancers. But now they may be changing again, with a greater impact from religious fundamentalism and also because of the economic conditions of 2009, there have been setbacks.

A final comment on a famous family of dancers
Living today in Luxor, Upper Egypt, there are still a few members of the famous ghawazee Maazin dance family, four daughters, known as the Banat Maazin, daughters of Maazin. Their father often boasted he had four beautiful dancing daughters who would keep him in comfort. He is gone now, only one daughter still dances and that is not very often since she no longer holds a license to do so. And especially because of threats of violence by the religious authorities who have banned women from dancing at weddings. The wedding organizers are now afraid to hire dancers.

But not to worry, there is a lot more belly dancing to be seen in the US on any night of the week.

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Raqs Baladi and Raqs Sharqi, the Oriental dances

From their origins in the Middle East, ‘Raqs Baladi’ and ‘Raqs Sharqi’ are the two main forms of the dance that we in the English-speaking western world refer to as the Arabic Belly Dance. or as just Belly dance, an unfortunate but firmly accepted label even though the dance involves so much more body and limb movement than just that of the belly area.

Over time, the Oriental dance has developed through many different forms from many sources, significantly influenced by Gypsy dance styles with contributions from the dances of India, Persia and Spain, all of which, over the course of history, have been home for the wandering Gypsy tribes after their exodus from their original homeland in northern India.

The dance is mostly a female solo dance, performed to the accompaniment of Eastern style music, sometimes called Arabic beledi  belly dance music, it has quite different rhythms and a lack of harmony compared to Western music. The dancer responds to the music, and perhaps to rhythmic hand clapping and finger snapping, with soft undulating movements of hands and arms and seemingly effortless but sensual movements of the torso for which the female body is so favorably designed.

The dance has been popular and performed widely throughout the countries of the Middle East, although there have been, on occasions, attempts by governments and religious authorities to restrict its performance in public

There are many mentions and similar descriptions of this special dance in ancient history, the Romans and Greeks were familiar with its many forms and interpretations, and of course, some of the less decent performances witnessed are remarked upon as being lewd and lascivious and objectionable – and this is at a time when, it is reported, Romans were throwing unarmed captives into the Colosseum arena to face untamed and hungry lions, watched by thousands of cheering spectators. Such are the priorities and preoccupations of human beings.

But certainly the dance is not always seen as exotic but innocent art. There are unsavory associations in some quarters.

Referring to the Oriental dance in her book “The Serpent of the Nile” published by Interlink Books in 1990, the author, Wendy Buonaventura, has written that “By its very nature, dance is an activity [that] heightens the senses and lowers inhibitions”.

In Europe in the 19^th century, with the rise in interest in all things Oriental, popularly called Orientalism, many travelers, writers, and artists, journeyed to the Middle East, recording their impressions in books and letters and in masterful paintings and sketches that provided for the people of Victorian times, a glimpse of what was until then a somewhat mysterious and exotic landscape and people.

Their writings and paintings often included mentions and descriptions of the dancing girls and the belly dance, some of them in derogatory terms but nevertheless they were a great attraction. American Charles Leland, who authored the book ‘The Egyptian Sketchbook’, published in 1873, commented that “Most travelers, if given the choice, would rather have seen the dancing than the pyramids.”

And Gustav Flaubert, famous French author of Madam Bovary and many other works, was also enamored of Egypt and the belly dancers. In one instance he was captivated enough to pursue one beautiful and famous belly dancer, known as Kutchuk Hanem, journeying far up the Nile from the capital Cairo just to seek her company.

Raqs baladi

Raqs baladi, in Egyptian Arabic meaning ‘Dance of the people’ or ‘Dance of the country’, is the older and more traditional dance form, something akin to a folk dance, but in this case with a very ancient pedigree with roots possibly as far back as Phaeronic times, if we can relate it to the depictions found in Egyptian paintings of that period. But the dance does not resemble other folk dances of the countries of the Middle East, it has a distinct and immediately recognizable style of its own and, as such, plays a large part in Egyptian life. It has been remarked that “Egyptian girls show such ease in dancing, they are seemingly born with an innate sense of rhythm and ability.” The Raqs Baladi is the style  of the dance that on family occasions would have involved all the members of a family, not just the females.

And on other  occasions when women are  segregated from menfolk,  in accordance with Arab and Muslim customs, the Raqs Baladi is the dance that women perform, at their parties, weddings and other celebrations, and at home, especially to entertain women friends and women relatives at those gathering.

Raqs sharqi

Raqs sharqi, in Arabic meaning ‘Oriental dance’, also has a long history and is one of the earliest forms of Oriental dance. It has been called a hybrid that melds the earlier traditional dance styles with a later-evolved dance repertoire that is less constrained than the baladi dance forms. The result being a highly expressive dance that allows a dramatic range of impromptu interpretive movements by the individual performer as she reacts to the music and rhythms of the moment.

This ancient form of expression, the raqs sharqi, now brought up to date in today’s professional world of Oriental dance,  has been influenced greatly by European cabaret styles and is popular with audiences in the Middle East and around the world. The dance has adopted many aspects of Hollywood inspired clothing and Western music such that it might be difficult to be recognized by the performers of the distant past.

But it retains, perhaps even emphasizes, its exotic and sensuous content and is growing in its acceptance and, apart from a recent downturn due to the negative affects of the world’s current economic problems, belly dancing is gaining in popularity, as night-club and café entertainment and as an exercise and joyful recreational and personal development activity.

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Most of us, not living in the Middle East, probably picture in our minds the Arabic belly dance as we know it from its more commercial environments, as it is seen in our western world in cabarets, television, film, print-media or in the growing number of dancing classes that teach the Oriental (belly) dance

But the Arabic belly dance, the raqs shaqi, one of the names given it by the Egyptians, meaning Oriental dance, is a dance whose origins and evolution lies in the Middle East.

And in the Middle East it is different.

Not everything there is adapted to the modern world or the facilities that are common to our lives. The inhabitants of that vast region who are not yet overwhelmed by western culture follow their own customs and have a different lifestyle. But one of the many activities in their lives will almost certainly be dancing, following that universal human urge for self-expression – and usually a reaction to a joyous impulse.

The Oriental dance as we know it is mainly a female solo dance. There are enduring traditions of dancing that girls of the Arab world learn in their early years, encouraged to do so as a family activity and natural outlet for self-expression and they soon become aware, by observation, of the ways the dances are performed by their older family members. Learning to dance provides delights for children today as it has done throughout its ancient history.

The women dance for their women friends and women relatives

On those occasions when women friends get together, informally or otherwise, they will often dance to entertain and amuse each other, a common occurrence where all the women of a gathering will probably participate, as dancers, singers, handclappers for rhythmic accompaniment, and as approving spectators, everyone joins in, not just the talented few. It is an opportunity to share their joys.

The dance is for the women by the women as, according to custom, they gather away from and out of sight of the male members of the group.

In its more formal presentation, the Arabic belly dancer follows a range of patterns and techniques that may differ widely from one locality to another. A series of movements may be learned as a basic routine while still allowing a dancer to translate whatever feelings and emotions they choose according to their natural personal abilities and natural talent.

Dance is a language of self-expression and as a solo activity, the belly dance is particularly suited to the interpretation and outward expression of feelings and emotions, uninhibited or otherwise, serious or light hearted. It can be a spontaneous response to the feelings of the moment or it can follow a more disciplined pre-established routine.

The dancer can react to the sound and rhythm of music or to their own silent inner feelings and thoughts, however they choose to, following the range of movements and gestures learned from their earlier times but in their own unique way.

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