ARB2103 - Final Project

1
RAQS SHARQI ??? ???? Art Form or Tool
of the Temptress?
2
Rakkase
Belly Dance
Cifte Telli
Baladi
Folkloric dance
The dance which whose in the west know as "belly
dance" has gone by many names. The French who
found the dance named it "dance du ventre", or
dance of the stomach. It is known in Greece as
the cifte telli (also the name of a Turkish
rhythm), in Turkey as rakkase and in Egypt as
Raks Sharki. Middle Easterners also call it
"danse orientale" to distinguish it from the
"balady", or country, dance. (1)
Oriental dance
Dance du ventre
??? ?????
Raqs Sharqi
?? ????
3
Origins of Belly Dancing
There are many theories concerning the origins of
belly dancing, one of which is its origin being
a dance for women, by women. It is believed to
have originated in the Paleolithic era (2). It
has been suggested it was an early custom for the
the dance to be performed by women around a women
during labour, supposedly rendering the birth
less painful (2).
Egyptian carving of the god Isis giving birth
Andrew Hammond, in his book Pop Culture in the
Arab World refers to Research that cites
Pharaonic religious worship and fertility rites,
as well as Bedouin traditions and the great
mixing of cultures engendered by the Ottoman
empires as an explanation of the origins of what
is now called Raqs Sahrqi, or belly dancing (3).
4
Another theory is that it was simply danced for
entertainment.
Some claim that Raqs Sharqi began as a dance for
women by women (2). Some believe the dance itself
was considered sacred, and not intended to be
seen by men at all (1).
Others claim that it was always meant for
everyone to enjoy.
Some belly dance historians believe that the
movements of dancing girls depicted in carvings
in Pharaonic times are typical of belly dancing
(4).
5
Napoleon and the Western encounter with Belly
dancing in the Arab World
One of belly dancings first documented
encounters with the west was with the Emperor
Napoleon. In 1798 he met the Ghawazee tribe as
his troops invaded Egypt, a people who made their
living as professional entertainers and musicians
(5).
Orientalist art of Ghawazee dancers
They soon discovered that the French soldiers
were a new and bountiful source of revenue. They
adapted their repertoire to entice more income (5)
Belly dancers became an obsession for many
Western travelers because of the supposed
forbidden sensuality the dancers represented (5)
Female Ghawazee were called Ghazeeye
6
Americans first saw belly dancing at the Chicago
World's Fair in 1893. The fair had a number of
exhibits focused on Middle Eastern culture.
Organizers billed it "as a cultural exhibit, as
an amusement for the masses, and as a means to
offset the gigantic costs of the exposition (5).
The Ghawazee dancers, particularly the dancer
named Little Egypt, performed at the fair to
titillated and scandalized audiences (5).
Little Egypt, 1893
Due to the dancers success at the world fair, in
the following years ethnological exhibits of
foreign customs and pastimes quickly gave way to
peep shows inspired by the exotic East. Many
dancers claiming to be Little Egypt performed at
cabarets and burlesque shows. They soon became a
staple for the booming amusement industry and the
dance's notoriety was secured with the unsavory
reputation of the burlesque business (5). Back
in Egypt, the dance was transforming to satiate
the colonial audiences demand. The Arab dancers
adopted the new cabaret uniform of bra, low-slung
gauzy skirt with side slits and bare midriff (5).
7
Seeking to capitalize on this fascination with
the Middle East, Hollywood began showcasing belly
dancers in movies. And to sensationalize the
subject even further, they featured belly dancers
wearing sequined costumes that revealed the navel
(6).
In Egypt, the cabaret style clubs where dancers
performed tended to be sleazy dives until
Syrian-born actress and dancer, Badia Masabni
opened her club, the Casino Opera (7).
Canadian actress Maud Allen plays a belly dancer
in the 1903 movie The Vision Of Salome
Badia Masabni changed the way dancers performed,
and it was in Badia's club where she trained two
of the most influential dancers of the 1930s
40s - Samia Gamal and Tahiya Carioca (8).
Badia Masabnis troupe at the Casino Opera
8
Golden Age of Belly Dancing
The Golden age began in the 1920s, with the
Casino Opera club. The dance was modernized from
its original stationary form in small spaces by
Badia Masabni, who added arm movements,
chest-shaking, and movements that made use of the
entire stage, and added props such as veils (2 -
p.238).
Other great dancers of the golden age included
Naiima Akef, Laila al-Gazairiyya, Nelly Mazoum
and Kitty. (2 - p.238).
Another major change at the time was costuming.
Up until the golden age dancers wore a long dress
with a scarf accentuating their hips. At this
time the beaded two piece bedlah made its
appearance, due to Hollywoods influence (9).
9
TAHIA KARIOKA (1915-1999)
Born Abla Muhammed Karim, she changed her name
changed her name to Karioka after the brazilian
samba dance she performed at the casino. (10)
Tahiya was discouraged from performing as a
dancer by her family. Due to family differences
that could not be settled with her father and
brothers, she moved to Cairo to begin her
training at the age of 12. (10)
Studied at the Ivanova Dancing School before
working at the casino where she reputedly earned
20 LE a week at the age of 14. (9)
Tahiya was married 14 times, including an
American, actor Rushdy Abaza and playwright Fayez
Halawa. (10)
Tahya Carioca's first movie "La Femme et le
Pantin" launched her film career that begun in
1935 and did more than 120 films. (11)
In 1936, she danced in King Farouks wedding
procession, performing to music sung by the great
Om Kalthoum, who was a great admirer of Tahia.
(13)
Egyptian Culture Minister, Farouk Hosni, led her
funeral procession. (12)
10
SAMIA GAMAL (1924-1994)
Born as Zaynab Ibrahim Mahfuz, Samia Gamal began
her career under the training of Badia Masabn.
(14)
Although Samia Gamal is considered second after
Tahieah Karryoka, she is said to have made Belly
dance more expressive, and is credited with
elevating it to a more respectable status. (15)
She incorporated techniques from ballet and Latin
dance into her solo performances. She was also
the first to perform with high-heeled shoes on
stage (she didn't want people to think she
couldn't afford shoes). (7)
In 1949, Egypt's King Farouk proclaimed Samia
Gamal "The National Dancer of Egypt. (14)
She also attained star status in the US
after a visit in the 1950s (14).
Stared in dozens of films Along side the famous
Farid Al Attrach. The two had a romantic
relationship but were never married (14).
11
Naima Akef 1929 - 1966
Her parents were acrobats in the well known Akef
Circus. Naima started performing in the circus at
the age of four, and quickly became one of the
most popular acts with her acrobatic skills. (16)
Through her later work at Kit Kat club, she was
introduced to film director Abbas Kemal, and went
on to star in his films. (16)
After the circus disbanded, she formed an
acrobatic and clown act that performed in many
clubs throughout Cairo. (16)
Two years after quitting acting to take care of
her child, she died of cancer at the young age of
37. (16)
Went on to become a star in Badeia Masabny's
famous nightclub, one of the few performers who
could dance and sing. She was also favoured by
Badeia, making the other girls jealous. The other
performers ganged up on her to beat her up. She
won the fight but was forced to perform
elsewhere. (16)
12
FIFI ABDO - 1953
Born Atiyat Abdul Fattah Ibrahim, Fifi Abdo began
her career dancing at weddings, working her way
up to theatre and cinema. (17)
In her twenties Fifi performed in big solo dance
shows with large live orchestras. The shows
attracted Saudi and Kuwaiti audiences, and were a
massive success. (18)
The Egyptian Television Network banned the
screening of all dramas starring Fifi Abdo
Starred in several Ramadan television dramas
broadcast through the Arab world. (17)
At 12 Fifi ran away from home with a local
folkloric troupe. She was gone from home for a
few months until her family finally gave in and
allowed her to dance. (18)
In Egypt, everyone dances,
at weddings, parties and at home -
it is such a shame that they cannot do this free
from reprisal Fifi Abdo
Has been married 6 times, is currently married to
the ambassador to Greenland, and has two
daughters. (17)
13
Movements and Steps - Posture
The actual dance of Raq Sharqi is a combination
of smooth, flowing, complex, and sensual
movements of the torso, interchanged with shaking
and shimmy type moves. (19)
The trick is to take each belly dancing move step
by step to ease the confusion. Once the steps are
mastered, the confusion is eliminated on its own.
(19)
The very first thing before beginning to dance is
to master the proper posture. The following is
belly dancer Shiras recommendation (20)

• Feet - Stand flat-footed with feet a small
  distance apart.
• Knees - Gently relax the knees, so there is some
  bounce to them.
• Pelvis Angle - Rotate the pelvis so that the
  triangle formed by the two points on the front
• of the pelvis and pubic bone points directly
  down to the ground!
• Chest - Pretend the breastbone (sternum) is
  attached to a puppet string, and the
• puppeteer is lifting directly up. This will
  open up the lower abdomen.
• Shoulders drawn back on each side so that a
  line passing through them is straight, not arced

14
Basic movements The first moves one would
learn as a beginner belly dancer in the west

• Hip slide moving the hips back and forth while
  still facing forward (like a typewriter)
• Hip Twist moving each side of your hips
  forward alternately, twisting around a
• center axis, knees and toes stay face
  forward without moving.
• Figure eight combination of the two movements,
  can be done front to back or back
• to front, and up and down (called a Mayan,
  after a famous dancer)
• Hip Lift Lifting up hips from side to side, as
  if being pulled by a string above. When
• done very quickly, becomes a shimmy
• Chest slide similar to the hip slide, but with
  the chest, keeping the hips still
• Pelvic wave pushing pelvis forward and
  backwards
• Chest lift using the back muscles
• Chest circle combined chest slide and chest
  lift
• Isolating the shoulders shoulder roll,
  shoulder shimmy

15
A short instructional video on how to execute the
movements described in the previous slide
16
Modern belly dancing in the Arab world
The Arab world appears to be both proud but at
the same time embarrassed of its dance. (19)
It is both acceptable, revered and stigmatized at
the same time.
On the acceptable side is dance as a social
pastime, performed in the home by women for women
as a means of entertaining each other. (9)
On the unacceptable side is professional dance,
which was the province of gypsies and poorer
members of society. They have a pride in the
dance but no respectable family wants its
daughter to pursue the profession. They don't
want it to die out but they don't want to nurture
it either. (9)
A dancer remains a citizen of low social status
unless ironically she becomes famous. Top
oriental dancers become national icons, and often
expand their careers into cinema or TV where they
acquire further wealth and fame - there is a
social stigma attached to dancers - when they
become famous this turns into adulation on a
massive scale such as Fifi Abdo and Dina. (9)
If dance is performed in a theatre in a folkloric
manner then it is seen as valuable and beyond
dispute. (9)
17
Conservativism Belly dancing perpetuates the
sex trade
Belly Dancer Fears her art is Dying Nadia abou
el Magd The National
In Oct 2006, Dina was widely blamed by
officials, the media and the public after
scores of young men chased women through downtown
Cairo groping them and pulling off their clothes
even those wearing Islamic headscarves and face
veils.
She had been dancing with a popular singer in
front of a downtown cinema to advertise a movie
that was playing during Eid, and allegedly
aroused the men, causing them to run riot.
This accusation made me laugh, Dina said. I
couldnt believe I could be responsible for
unleashing a sexual uprising by hundreds of men.
Its just unbelievable.
Women who belly dance in the Arab world are often
stigmatized, and almost always seen as bad,
seductive women engaged in dishonourable conduct
(22).
In the East, the dance is caught in the maze of
what may pass for acceptable behaviour under
Muslim law. It is recognized as part of Arabic
cultural heritage yet there is still condemnation
for the dancer who performs publicly (2).
18
Belly dancing in todays primarily Islamic
countries of the Arab world
Undoubtedly, there have been many individuals
over the years who have used the dance in private
as a tool for seduction. But that is not how
Middle Eastern people think of Oriental dance,
and that is not the role they see it having in
their society. For them, the dance remains firmly
in the realm of something that people of all ages
do for fun when they get together with friends
and family. (23)
More conservative Muslim women still hesitate to
dance in settings where men other than their
husbands can see them, even at these social
occasions. Such women may go to the mixed-company
events, but do not take a turn at dancing. (23)
In present-day Egypt, in fact, it's customary for
a newlywed couple not only to hire a belly dancer
for their wedding, but also to have their photo
taken with their hands on the dancer's stomach --
another throwback to the dance's significance as
a fertility rite. (23)
Belly dancing pre-dates Islam, and despite
constant and stringent criticism, belly dancing
continues to have a presence in Islamic society
at weddings, birth announcements, in the home and
in the reverence of the stars today such as Fifi
Abdo and Dina. (23)
19
Extremists in particular targeted public dance
performances by women, because Islam states that
women should cover their beauty and show it only
to their husbands. They threatened to disrupt
with violence any events that involved women
performing Oriental dance in front of men. As a
result, people have backed away from hiring
female dancers for weddings and other happy
events, because they don't want their special
occasions ruined by violence. (24)
Today, the famous Egyptian dancers such as Fifi
Abdo and Dina surround themselves with entourages
of bodyguards to ensure their personal safety.
Others such as Nagwa Fouad and Soheir Zaki
retired in the late 1980's or early 1990's
because it just wasn't worth the hassle to
continue. (24)
Many dancers have retired from performing
altogether. Increasingly, the dancers who
continued to perform publicly were foreigners
until law prohibited them from dancing too. (24)
20
Belly Dancing in Egypt today
While belly dancing is legal in Egypt, dancers
cannot perform on state-owned television in
Egypt. And in an attempt to reduce the number of
dancers, authorities are giving fewer licenses to
foreigners and making it difficult for them to
renew existing ones. (21)
Police also monitor nightclubs to ensure that
dancers costumes are sufficiently modest, with
slitted skirts that must start below the knee.
The navel is always supposed to be covered, if
only by transparent material. According to Dina,
the belly dancing outfits are the main cause of
controversy in Egypt, rather than the dance
itself. (21)
Yet demand for belly dancing in Egypt is still
high among those who approve of it, especially
among the rich who can afford to pay the LE12,000
per hour rate that Dina and her band charge to
perform at private functions. (21)
I still dance at many weddings, most of the
brides are veiled but they dont stop dancing
with me and their groom all night long. For
Egyptians who can afford it, a wedding means a
belly dancer. - Dina
21
Belly Dancing as an Art Form
Many belly dancers in the West argue that Belly
dancing is an art and a form of self expression,
in addition to an effective means of exercise and
a booster of self-confidence.
Lebanese American belly dancer Margo Abdo
describes her performance as a celebration, for
the audience and for me. (25)
American belly dancer Atéa seeks out the calmness
and serenity of ancient Eastern philosophies and
practices to help herself rise above the stress
and tensions of life. (26)
Western dancers have identified one thing that
separates belly dancing from other types of dance
is its open door policy. Anyone can learn at any
time, no matter size, shape or age.
In contrast, Kathleen Fraser, in her study of
Canadian Egyptians, observed that "informants
described the dance as having a legitimate place
in the culture but not a serious place.
Egyptian-Canadians truly love this dance but
could not bring themselves to say they give it
high esteem as an art (27). It seems that in the
West belly dancing can be considered an art, but
in the Arab world it is simply a beloved past
time to most.
22
Costume Egyptian
The typical Egyptian Belly dance costume is a
gown or a bra and skirt with hip accentuations
built directly onto it. Accessories can include a
headband, arm cuffs or form fitting (unattached)
sleeves, and a veil. In Egypt Oriental dancers
are prohibited from exposing bare midriff. A body
stocking, made from mesh with a loose or tight
weave (colored or nude) is worn with two piece
sets in obedience to this law. Shoes are a
possibility. (28)
The styling of the currently popular belt (low or
high end) in Egyptian cosumes is distinct. The
front part of the belt is rectangular in shape
while the back is in a half circle, covering and
slightly cupping the buttocks. The belt is often
in one piece (unlike most Turkish belts that come
in two parts) and the edges are clean and
straight. (28)
There is quite a large difference between high
end custom-made costume and a mass produced one.
The mass produced costumes typically do not fit
most women very well, and has much less
decoration and detail. The fabric is noticeably
more luxurious on the custom made costumes.
High end
Beginner (lower)
23
Costume Variations Turkish costume
A lower end full costume will come with either a
sheer pantaloon or skirt with no, or minimal,
decoration and may also include a veil. Fabrics
tend to be an industrial strength
polyester/chiffon blend. (28)
The Turkish Belly dance costume consists of bra,
belt and skirt. Also prevalent among current
designs are hip accentuations built directly onto
the skirt in lieu of a separate belt. Accessories
can include headband, necklace, wrist or arm
cuffs or unattached sleeves (either form fitting
or flowing), and veil. Gowns are not common.
Neither are pants, Turkish dancers often show
legs to full advantage. Shoes are a possibility.
(28)
Full designer costumes include decorative
headband and necklace, some type of arm
adornment, a veil, bra, belt, and skirt. Fabrics
used are velvet, crushed velvet, stretch velvet,
chiffons and some lycra. (28)
Higher end mass produced Turkish belly dance
costumes share similar characteristics as lower
end sets but are of superior quality. For
example, the design patterns on the bra and belt
will be in equal proportion and perfectly
centered. Fringe will be the exact same length,
and strung to last. Stitch work is sturdier.
There will be more detail work on the skirt and
veil. The shape, form and fit of the bra and belt
are better. (28)
High end
Beginner (lower)
24
Belly Dancing Props
Sword
Sword dances are performed in the sense of sword
balancing. The sword used must be specific to
belly dancing or a balancing sword, which is
more likely to balance in a more central
position. Most dancers blunt the sword so the
dance still looks like an amazing feat, but the
danger is lessened. Frequently a thin layer of
wax is also rubbed onto the sword for the same
purpose. It takes a significant amount of
practice to be able to balance the sword balance
a sword on ones head, chin, wrist, shoulder,
hip, stomach or thigh, but once the talent is
mastered it is very impressive. (30)
Veil
Traditionally, veils were used by the women in
the orient for discretion in public. True veil
dancing in oriental dance occurred only within
the last century and was strongly influenced by
dancers of the West. They are made of any light
fabric that easily catches the air, silk is the
best. They are a rectangular shape, double the
length of ones arm, and are used during soft,
flowing music or classical oriental dance routine
(but not folkloric), and usually during the
beginning of a performance. (29)
25
Cane
Belly dancing with a cane can look simple, but it
is actually quite challenging and takes a lot of
practice to master. Cane dancing can be an
authentic dance type, commonly known as Raks al
Assaya or Saiidi, an exciting Egyptian folkloric
dance performed with a cane. The dance has its
roots on El Saiid or upper Egypt, in the south of
the country. (31)
Zills
Finger cymbals are called "zils" or "zills" in
Turkey and "sagat" or "zagat" in Arabic. They are
small metal disks, worn on your hands and played
while you are belly dancing. Most belly dancers
wear four of them one on each thumb, and one on
the middle finger of each hand. Professional
dancers often have several pairs of finger
cymbals in gold and silver so they can choose the
color that looks better with a particular costume
and the sound volume that works best for a
particular setting. (32)
26
Music
Instruments
Belly dancing music uses different wind, string
and percussion instruments pertaining to a
specific region of the Middle East. A reed flute
called the nay produces a delicate and haunting
sound used in a spiritual whirling of the arms
and upper body. The oud is a wooden lute with a
pear shape. Strumming this guitar-like instrument
creates rhythms that cause belly dancers to
respond with soft shimmies of their hips and
torso. Drums like the Egyptian darbuka accent a
dancer's rolling hip shimmies. (33)
Oud
Nay
A dancers goal is to visually communicate to the
audience the emotion and rhythm of the music.
This is especially apparent during the drum solo
portion of a performance. (34)
Many belly dancers have used a band or a drummer
who will regularily play for them. Some of the
more famous dancers (Soheir Zaki, Nagwa Fouad,
Lucy, Nadia Hamdi, Fifi Abdo) commissioned
musicians to compose intricate songs played by
40-piece orchestras just for them. (24)
Darbuka
27
Music - Tribal
Percussion instruments have been used since the
beginning, and were the original music belly
dancers danced to. Drums were popular because
they could be made using easily obtainable
materials. (35)
Traditionally, Oriental Dancing was spontaneous
and so was its music. Live musicians (or even
just a single drummer) would play while the
dancer interpreted the music. The music or rhythm
might change and lead the dancer in a new
direction and vice versa. (35)
Belly dancers would also share the stage with
famous dancers in the golden age, such as Tahia
Karioka with Um Kalthoum at King Farouks
wedding. (13)
Composers such as Mohamed Abdul Wahab, Assi
Rahbani and Mansour Rabbani composed music for
belly dancers to use in their performances and in
films.
28
Music modern
Many modern practitioners make use of the music
of Egyptian Sha'abi singers, including Ahmed
Adaweya, Hakim, and Saad el Soghayar in their
routines, which combines the percussion of modern
Egyptian music with a traditional feeling for
music and dance in the Raks Sha'abi style. (36)
Belly dancer dancing to Hakims Asalaamu Alekum
Today one can find thousands of mixes and
compilations for belly dancers, put together by
other belly dancers and professionals. They can
be bought for the most part online, and there is
an extensive online community dedicated to the
review of belly dancing music.
29
Male belly dancers
Today belly dancing is a very female dominated,
and when one thinks of belly dancing, typically
the male figure does not come to mind.
Male belly dancing, a centuries-old Egyptian
tradition, is making a comeback - against the
odds, considering its periodic suppression by
government and religious officials. The problem
for is that his craft has long been associated
with homosexuality - a taboo in Egypt. (39)
Historically, when it was forbidden for females
to dance in front of males, male impersonators
would take their place. Today, most male belly
dancers are not impersonators, but have a style
of dance all their own. (37)
After the decline of the male belly dance, modern
times have seen a revival. Composer Ulvi Cemal
Erkin, among others, has written music for them
and performances are making a come back. The
styles vary from sensual to folkloric and dancers
even develop their own choreography and costumes.
(38)
In the Arab world, most choreographers and some
of the most well known belly dance instructors
are male.
30
The male costume can consist of "harem pants", a
tassel and/or coin belt, and some kind of vest -
or a shirt. Some dance topless. Many males insist
on wearing a shirt and eschew the traditional two
piece costume. (40)
Tito Seif, a well-known belly dancer (in the
video above), dances only in the galabiyah, a
slack caftan, never in anything revealing. "I
don't believe that a male belly dancer should
imitate a woman," says Seif, 35. "We should not
forget we are men, and dance in a manly way. (41)
31
Conclusion
There are many different factors that determine
ones opinion of belly dancing, the two major
being ones level of familiarity and level of
conservativism.
Those that practice and understand belly dancing
see it as having many benefits, for body, mind
and spirit. Those that focus on the supposed
sensuality and revealing attire tend to criticize
and degrade those who practice belly dancing.
The dance with many different names varies in the
extremes from East to West. In the West it is a
past time for women, something for fun or
exercise or occasionally a career. In the West it
is a part of the culture, neither supported nor
stamped out completely, and not to be practiced
by a respectable woman.
The dance can be transformed into whatever the
performer wishes, by using different styles of
dance, different music, costume variation, props,
settings, in a group or solo.
The ancient practice of belly dancing will
continue to evolve and survive in the future,
though it is possible support for the practice
will be entirely stamped out in the Arab world,
and will be forced to continue only in the West,
something that would be devastating for the
controversial yet valuable cultural practice of
the Arab world
32
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6. http//www.bellydancingvideo.com/bellydance3.htm
7. Shay, Anthony , and Barbara Sellers-Young. "Belly
   Dance Orientalism, Exiticism, Self-Exoticism ."
   Dance Research Journal (2003)
8. http//bellydanceatlanta.com/Overview/Costumes.htm
   l
9. http//www.jasminjahal.com/articles/99_12.veil.htm
   l
10. http//hubpages.com/hub/Belly-Dance-Balancing-Swor
    d
11. http//www.pinkgypsy.com/questions3.htm - Cane
12. http//www.shira.net/zills.htm
13. http//www.ehow.com/about_5488833_history-belly-da
    ncing-music.html
14. http//www.esto.es/bellydance/english/history.htm
    
15. http//bellydancingmusic.blogspot.com/
16. http//en.wikipedia.org/wiki/Belly_dance
17. Williams , Daniel. "Male Belly Dancing Makes
    Comeback in Egypt, Defying Suppression."
    Bloomberg online 3 Jan. 2008
18. http//worlddance.suite101.com/article.cfm/comebac
    k_of_the_male_belly_dancers
19. http//www.atlantabellydance.com/Overview/MaleBell
    yDancers.html

34
For fun!
Q How are belly dancers and plastic surgeons
alike? A They both tuck and lift!
Q Why did the belly dancer cross the road? A
She heard there were costumes on the other side.
Q What kind of crowds do belly dancers hang out
in? A Hip circles!
Q What is the difference between a belly dancer
and an incompetent pastry chef? A One shakes
body parts, and the other bakes shoddy tarts!