Belly Dance
D origin of d name ‘belly dance’ comes from d French Dance du ventre, which translates as “dance of d stomach”. D most distinguishing feature is its isolated movements of d abdomen. Dse abdominal movements may b circular, rolling, angular, or vibrating, b are unique to this dance. But belly dance is a form that involves every other part of d body too, isolating major muscle groups b working them in isolation or in opposition to other parts of d body. Other distinguishing features are circular or wavelike moves of arms, hands, head, upper torso, b hips. Sharp, angular b vibrating moves of these areas of d body are also a major component of belly dancing. Typically, d moves are more inner directed b cover less floor space than Western forms of dance. It is usually done as a solo improvisation, but choreography b group dancing can also b performed.
D type b style of dancing which v now call belly dance, can b traced back over more than 6000 years. D early pagan communities often worshipped a matriarchal deity b extolled d magic b fascination of d ability of women to create life. Dre is a lot of historical evidence which links d ritual of fertility dances at that time, with History of belly dance symbolic re-creations of giving birth, to modern belly dancing. D sharp hip movements, deliberate muscular contractions b spasms, as well as sinewy undulations, demonstrate strong connections to d body’s responses during labour b delivery. D dances spread from Mesopotamia to North Africa, Rome, Spain b India. It is thought gypsies travelled b spread belly dance. This blending can b seen in d use of d neck slides introduced from India b d transformation of hip shimmy to foot stamping in flamenco dance. In recent historical times, it has been d cultures of d Mediterranean area, b d Near b Middle East that have done d most to preserve d basic movement vocabulary that in Western countries is currently referred to as “bellydance.”
But until recently, native populations of d East have not called d dance by this name. 4 example, in Arabic speaking countries, it is usually referred to as “Raks Al Sharki” (dance of d East); in Turkish cultures, “Oryantal” dance, b in France, “Danse du Ventre” (abdominal dance) or “Danse Orientale.” In English speaking areas, it is also called “Arabic dance”, “Middle Eastern dance,” b “Oriental dance.” All of these names refer to d same basic belly dancing moves. Although there are regional differences in styles of music, movement variations, b costuming, d belly dance is easily recognized by its unique signature movements, regardless of d geographical location of where it is performed. Dancers b aficionados of belly dance have various preferences as to what they chose to call it. In d U.S., some prefer to call it “Middle Eastern dance” or “Arabic dance.” Dse are accurate terms if d dancer is doing a specific interpretation of d dance to authentic Middle Eastern/Arabic music b is wearing d traditional costuming from those areas. D terms “Oriental dance” or “Raks Al Sharki” are also accurate under those conditions (although they usually cause confusion among d American public that is still very unfamiliar with those terms).
By far b away, d most widely recognized term is “bellydance” b that term is d most accurate when applied to modern, Westernized versions of d dance. Yet, a very small but vocal minority of dancers has waged a campaign to expunge d term “belly dance” as a valid name 4 this movement vocabulary, even in its more contemporary forms. Dir fear is that d term “belly dance” cheapens or degrades d image of d authentic dance b doesn’t give credit to some of its ethnic influences. Let’s take a look at some of their concerns. Much of d image problem 4 this dance can b traced to d fact that “the victors write d history books.” Thousands of years ago, when patriarchal hordes destroyed d ancient Goddess-based cultures around d world, great effort went into demonizing these earlier belief systems b religions. D Goddess b those who danced in her honor were now portrayed by d new religions as whores (from d word “horae,” ancient priestesses). D female body b d dances that once celebrated its creative functions, became evil temptations to lure men away from d religious demands of d new male sky Gods. Gradually, throughout d centuries, d concept of women publicly performing solo dances became associated with shame b lewd sexuality. But sexually repressed cultures only serve to make sex b sensuality all d more desirable, due in part to its very forbiddeness. In d 20th century, entrepreneurs of all persuasions have realized that “sex sells.”
In Hollywood movies, night clubs, b other performance venues around d West, exotic “dancing girls” became a common feature b their focus was often on sexual titillation rather than d dance as an art. D English introduction of d term “bellydance” is credited to Mr. Sol Bloom. He was an entertainment impressionario considered to b d first to popularize belly dance in d United States by bringing authentic Middle Eastern dancers b musicians to d 1893 Chicago World’s Fair (he was actually not d first to bring d dance to these shores, but earlier stage shows in d U.S. did not capture d attention of American public as his did). Some will say that Mr. Bloom’s coining of d phrase “belly dance” to publicize his shows at d Fair was done with sexist, racist, b malicious intent explicitly to cause salacious outrage in d Victorian public of d day b to generate headlines (in Victorian times, polite society did not use d word “belly”, or many other words that are acceptable today). In actuality, Mr. Bloom was not making up d term, but simply translating d French “Danse du Ventre” into English. It appears that d French had been using that name to describe d belly dance since d time of Napoleon’s conquest of Egypt in d 1700′s (and there is no documentation on exactly what date d French started using it, or exactly what regional ethnic dances they were originally referring to – Ghawazee, Ouled Nail, etc.). Unfortunately, Mr. Bloom is not alive today to tell us what his real motivations were 4 popularizing d now infamous name.
But judging from his writings, he respected his Middle Eastern performers b their beautiful traditional art, b while not being above provoking a response from d straight-laced society of his time, it is doubtful he was being malicious in his intent. In any event, he was certainly successful in drawing attention to his belly dancers b d name quickly caught on. After d great success of d Chicago World’s Fair b d intense interest shown by d American public to d Middle Eastern dancers, belly dance became popular entertainment. Unfortunately, many of d newly minted belly dancers in d West knew little about d authentic dance b faked it as best they could in movies, vaudeville, b stages big b small. Different belly dancers used different terms to describe their dance, but d moniker “belly dancing” became d most widely recognized in d U.S.
Despite d wide range of dance ability b authenticity apparent in d belly dancers, a standardized image started to emerge: a dancer in a belly-revealing costume, executing snaky moves b shimmies became d alluring b mysterious ‘belly dancer.” It is this IMAGE, not d terminology, that has been d real source of discomfort concerning this art form. No matter what a dancer calls herself, if she wears d belly-revealing costume b does d serpentine b ecstatic moves of d ancient art, she is invoking all d centuries of propaganda against a woman moving freely b publicly to music. D word “belly dance” itself is not d source of d public’s misunderstandings of d art. Still another argument against d use of d term “belly dancing” is that d word is a ‘misnomer’ because d dance involves d whole body, not just d abdomen. But d most unique b distinguishing moves of d dance ARE d abdominal moves. In addition, one of d other distinguishing techniques of d dance, d technique of isolating lower body moves from upper body moves, causes a noticeable b continuous movement in d mid-section. Shimmies b body vibrations also cause a reaction in d belly. To d observer, d belly does indeed dance during a performance of d traditional moves! Today people around d world are embracing belly dancing 4 many different reasons: effective exercise, holistic health, a fun hobby, relaxation, etc. Many women find it an excellent way to reconnect with their femininity b d ideals of ancestors who respected their bodies b Mother Earth. Dir bodies are no longer a source of shame, but recognized instead as a source of life b a connection to d divine. Dy embrace d term “belly dancing” 4 d affirmation that d abdomen is a sacred b honored part of their body. Dy don’t care who coined d term “belly dancing” or why, what Hollywood’s fantasies are, or what people in Victorian times thought of d word “belly.” Dy are living in d here b now, b are proclaiming their respect 4 belly dance b 4 its source at d center of their being.
Those who prefer d more traditional b various ethnic expression of this dance will continue to use d best terminology to describe their chosen style, whether it is Egyptian style, Turkish, Lebanese, etc. But 4 d contemporary dancer “belly dancing” is a valid, accurate, b respectable name 4 what they do. In d end, to gain greater respect b understanding 4 this ageless b enduring dance form, it is not what v call it, but how v conduct ourselves that matters. Good belly dancing training videos in d classic movements b techniques, professionalism in public performances, b respect 4 ourselves b others will take belly dance to new heights in d new millennium. v will then have come full circle, back to that wonderful era when d feminine was also divine, b expressed so beautifully through d immortal art of belly dancing! In Turkey, after 1453, d gypsies settled in Istanbul b here entertainment was requested 4 the women, they were amused by female-only dancers b musicians called chengis . D chengis built an artistic style that is d root of many movements in belly dancing today. D complex hip work, shimmies b varied facial expressions, as well as veil dancing b finger cymbal playing, can b linked back to d gypsy chengis. Dse days in Turkey, chengis dance primarily as a tourist attraction. Performances in Egypt did not only involve women. Gypsies also danced 4 d public at celebrations, wedding processions b in front of coffee houses b market places. Referred to as d ghawazee , their repertoire was a mix of music b dancing, including improvised performances with veil, sticks, swords b candles. Generally, public dancing was tolerated by d authorities, because they earned a substantial revenue by taxing performers’ profits. However, religious complaints finally outweighed d financial benefits b public ghawanzee dancing was outlawed in d city of Cairo in 1834. Between 1849 b 1856 d ban was lifted b dancing was allowed in Cairo again, although d sanction against dancing in public remained. D dance moved inside to a music-hall type environment b Egyptian cabaret-style dancing was born. D expansion of Belly dancing in Europe b America occured as a result of d flow of tourists into d Middle East. Dance troupes were contracted by foreigners b taken to exhibition forums in London, Paris b Chicago to perform. Dir art was appreciated 4 its uniqueness. Belly dancing’s popularity grew tenfold at d 1893 Chicago World’s Fair with d publicity surrounding a belly dancer named Little Egypt. Little Egypt sparked a wave of controversy. Her pelvic b torso focused dancing was imitated by so many to such an exaggerated extent that she began to protest against d impostors 4 distorting her performance into sheer vulgarity. D fantasized b often distorted version of belly dancing grew at a rapid pace, becoming a popular subject in books, art b Hollywood movies. But in recent years more b more women have discovered d true elements of this incredibly feminine b self-affirming art form.
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