Belly Dance
Belly dance
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"Oriental dance" redirects here. For other forms of dance from the Middle East, see Middle Eastern dance.
For the single by Akon, see Belly Dancer (Bananza).
The neutrality of this article is disputed. Please see the discussion on the talk page. Please do not remove this message until the dispute is resolved. (June 2009)
Belly dance (Arabic: رقص شرقي) is a Western term for a traditional Arab dance genre known as raqs sharqi (رقص شرقي; literally "oriental dance") or sometimes raqs baladi (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"[1], or by the Turkish 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.
Contents
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General
Today there are two forms of Oriental belly dance. The first is called raqs baladi, a social dance performed for fun and celebration by men and women of all ages, usually during festive occasions such as weddings and other social gatherings. The second form, the more theatrical and the more popular in the West today, is called raqs sharqi. Like raqs baladi, raqs sharqi is performed by both male and female dancers. In regions where belly dancing is native, boys and girls learn it informally from an early age by observing and imitating their elders during family/community celebrations and gatherings with friends.[citation needed]
Historically, most of the dances associated with belly dance were performed with the sexes separated; men with men and women with women. Few depictions of mixed dancing exist. This practice ensured that a "good" woman would not be seen dancing by anyone but her husband, her close family, or her female friends. Today, sex segregation is not as strictly practiced in many urban areas, and sometimes both men and women will dance socially among close friends at a mixed function. However, while social dancing at family functions is accepted and even encouraged, there are many people in Middle Eastern societies who regard the performances of professional dancers in revealing costumes for mixed audiences as morally objectionable. Some have even gone so far as to suggest that such performances be banned.[citation needed]
Origins
Belly dancing was originally from Ancient Babylon in southern Iraq.[citation needed] Adnanite Arabs introduced belly dancing and drumming. Belly dancing was passed on from generation to generation. The drum beats people hear today are the same beats that the Arab tribal men used. Before the arrival of Islam the tribes in Arabia used to gather women in private gatherings or special occasions and perform the belly-dancing, while men from the tribe perform on the drum.[citation needed] Men used to have large feasts of food and wine and watch women while they were dancing.
After the Arrival of Islam, belly dancing was banned due to religious reasons. During the Ummayd and the Abbasid dynasties in Iraq, belly dancing was promoted as a trade by rich people. They used local poor women and, later on, slaves from other parts of the world, especially Persia, India/Pakistan and North Africa and had the local Arab women teach them how to perform the belly dance.
During the time of the Abbasid and the Fatimid dynasties, the Arabs settled in Egypt and passed on the belly dance. Since that time, the Egyptians adopted the dance and it was passed on through generations. Egyptians have been known for having good belly dancers.
There is also some evidence that belly dancing is a reworking of movements traditionally utilized to demonstrate or ease childbirth. 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.[1].
Costume
Because the most visible venue for belly dance is nightclubs (as well as video and DVD recordings of popular Egyptian dance celebrities), it is this version, rather than the folk or social versions, that is most popular. The costume now associated with this dance is called bedleh in Arabic (meaning "suit"), and was adopted by dancers in Egypt in the 1930s, eventually spreading to other countries in the region. It owes its creation to the harem fantasy productions of vaudeville, burlesque, and Hollywood during the turn of the last century, rather than to actual authentic Middle Eastern dress. Lebanese Badia Masabni dubbed the godmother of oriental dance, singer, actress, and a night club owner in Cairo is credited with adopting this costume because it was the image that Western tourists came to expect, rather than the native caftan/kaftan - which mostly concealed the contours of the body, with a scarf or belt tied around the hips to highlight the movements. The caftan is still used by performers to cover their costumes when not on stage. One of the major contributions Badia made to oriental dance was lifting it up out of the traditions of chaabi or traditional dancing. Where before the belly dancer had a limited repertoire of arm movements she got the idea not only holding them out to the sides, but lifting them higher above the head and using more flowing gestures later known as snake arms. Not only did Badia Masabni's ideas influence how dancers carried their arms and the use of veils. She also influenced dancers to use more space on the stage. The ghawazee and almeh were performing almost entirely on one spot.
Since the 1950s, it has been illegal in Egypt, for belly dancers to perform publicly with their abdomens uncovered. Costumes for Raks Sharki are usually a long, one-piece gown or a two-piece outfit (a decorated bra top and skirt) with a sheer body stocking covering the midsection. In either case, the costumes are usually elaborate and elegant, with rich fabrics lavished with bead work, jewels, and beaded fringe. Beaded belts are usually sewn directly onto the skirt and there are matching accessories such as necklaces, arm and ankle bracelets, earrings, and headpieces. The look for Raks Sharki is glamorous and feminine
Lebanese belly dance costumes are usually elegant nightclub styles, consisting of the typical two-piece belly dance outfit of a decorated bra top and a matching belt (usually beaded) over a skirt. The skirts tend to be sheer and/or are made with less fabric than Egyptian styled outfits, showing more of the dancer's body. Using rich fabrics and jewelry the costumes of Lebanese belly dancers are very glamorous, sexy, flirtatious and elegant. The veil is more widely used and the veil matches the outfit. Unlike Egyptian dancers, Lebanese belly dancers are allowed to uncover their abdomen in public performances and do so. A unique characteristic of Lebanese dance is that the dancers often wear high heels when they dance.
Turkish costumes, especially in the 1970s and 1980s, were notorious for their brevity and sexiness. The costumes are usually the typical decorated bra top and belly dance skirt with belt. However, often the skirts are made with less fabric than the American belly dance or Egyptian belly dance style, and are very brief, showing more of the dancer's body. Beaded belts are most common and there are matching accessories such as necklaces, arm and ankle bracelets, earrings, and headpieces. Sheer fabrics are usually used in the skirt and the costumes often have cutouts on the belts or bra/bodice. Typically, the look in Turkish belly dance costumes is sexy, playful, and flirtatious
American belly dance costuming generally has a glamorous or luxurious style (think Hollywood or couture design). Classic American belly dancers usually wear a two-piece outfit, with a decorated bra top, vest, or blouse on top with a skirt and/or 'harem' pants secured at the hips (with the midriff usually, but not always, uncovered). Fabrics most often used are silks, satins, chiffons, lamés, and fabrics that glitter with sequins, beads, or metallic threads.
The mainstays of costuming for the bedlah style include 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(s) (straight, layered, circular, or paneled). In the western world a "veil" - a 3-1/2 to 4-yard piece of fabric - may also be used to accentuate swirling arm movements throughout an entire dance or part of a dance. Most Egyptian dancers use the veil as an opening prop which they discard within the first few minutes of their routines.
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. Usually belly dance is associated with a cabaret costume. The cabaret costume usually consists of hip belt, bra, skirt and/or harem pants, and one or more veils. Decorative arm coverings, wristbands, headpieces, neckbands, scarves, face veils, jewelry and shoes are optional. Makeup usually is a very important piece of costume. The belly dancer’s belt should be around the dancer’s hips, leaving the waist free to perform moves and belly rolls. The belt may have straight edge, or may be curved or angled and it should have jewels, coins, hanging fringe, or tassels on it to emphasize the movements of the hips. The dancer’s bra usually matches the belt in its decorative details and does not resemble lingerie. The classic harem pants are full, and gathered at the ankle, but could be modified. For cabaret pants are usually worn under skirt, because there could be revealed too much leg during the spins. The skirts are usually circle of different kinds of design and usually voluminous. The classic veil is usually three yards of sheer or featherweight fabric, often with decorative borders. Often to enhance the mystique of the dancer henna body art is often used. Henna is a natural vegetable dye which is prepared as a pate and topically applied to the skin. Usually henna is applied to the hands and feet. When removed after several hours, it it leaves reddish brown stain on the skin. Props are used to spark audience interest and add variety to the performance. Traditionally dancers were also performers, singers and musicians. There is a tradition to wear percussion instruments. Nevertheless today only very high skilled belly dancers use finger cymbals, many dancers rely on musicians to play for them. Some dancers use sticks and canes in their performances. Dancing with a veil which flows beautifully with dance movements adds a touch of elegance to the dance performance. Some dancers use sword for their performance, what can make the dance powerful and dramatic. The candles lights, which can dance with he dancer, add in the performance some mystery and drama. Some dancers use tambourine. This prop is very popular with Gypsy style troupes.
Techniques
Most of the basic steps and techniques used in belly dancing involve circular motions isolated to a certain part of the body. For example, a circular movement "drawn" parallel to the floor by the hips is known as a "hip circle", or by the rib-cage known as a "chest circle". Accents such as "hip lifts" or "drops" are use to draw the eye to hip movement such as "shimmies or hip circles", while shoulder or arm movements are to accent chest or belly undulations. Dancers often dance while balancing various props like baskets, swords or canes(canes in particular for folkloric dances.)as well as using silk or chiffon veils and wings for dramatic dance pieces.
Raqs Sharqi
Raqs Sharqi belly dancing consists of movements that are executed throughout the body. The focus of the dance is the pelvic and hip area. It is, fundamentally, a solo improvisational dance with its own unique dance vocabulary that is fluidly integrated with the music’s rhythm.
Raqs Sharqi dancers internalize and express the emotions evoked by the lyrics and the music. Appropriately, the music is integral to the dance. The most admired Raqs Sharqi dancers are those who can best project their emotions through dance, even if their dance is made up of simple movements. The dancer’s goal is to visually communicate to the audience the emotion and rhythm of the music. Raqs Sharqi translates from Arabic as "dance of the Orient" or "Oriental Dance". Belly dance is a misnomer as the all parts of the body are involved in the dance, and the most important body part is the hips. The dancer’s goal is to visually communicate to the audience the emotion and rhythm of the music.
Many see Raqs Sharqi as a woman's dance, celebrating the sensuality and power of being a mature woman. A common school of thought believes that young dancers have limited life experience to use as a catalyst for dance.[citation needed] Sohair Zaki, Fifi Abdou, Lucy, Nagua Fouad, and Dina are all popular Egyptian dancers above the age of forty.
Despite the fame of female dancers, men often perform Raqs Sharqi as well, however, not in public in Arab countries.
Egyptian-style raqs sharqi is based on Baladi who adpoted it from the Arab Tribes originally from Arabia and settled in Upper Egypt. Later the work of belly dance legends 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 have remained the same, the dance form continues to evolve. Nelly Mazloum and Mahmoud Reda are noted for incorporating elements of ballet into Raqs Sharqi and their influence can be seen in modern Egyptian dancers who stand on relevé as they turn or travel through their dance space in a circle or figure eight.
In Egypt, three main forms of the traditional dance are associated with belly dance: Baladi/Beledi, Sha'abi and Sharqi.
Arabic belly dance was among the first styles to be witnessed by Westerners. During Napoleon's invasion of Egypt (the campaign which yielded the Rosetta stone, leading to the translation of Egyptian hieroglyphics), Napoleon's troops encountered the Ghawazee tribe. The Ghawazee made their living as professional entertainers and musicians. The women often engaged in prostitution on the side, and often had a street dedicated to their trade in the towns where they resided, though some were quasi-nomadic.
Turkish forms
Some mistakenly believe that Turkish oriental dancing is known as Çiftetelli because this style of music has been incorporated into oriental dancing by Arabs and greeks, illustrated by the fact that the Greek belly dance is called Tsifteteli. However, Turkish Çiftetelli is more correctly a form of wedding folk music, the part that makes up the lively part of the dance at the wedding and is not connected with oriental dancing.
Turkish belly dance today may have been influenced by Arab people before the Ottoman Empire as much as by the Egyptian and Syrian/Lebanese forms, having developed from the Ottoman rakkas to the oriental dance known worldwide today. As Turkish law does not impose restrictions on Turkish dancers' movements and costuming as in Egypt, where dancers are prevented from performing floor work and certain pelvic movements, Turkish dancers are often more outwardly expressive than their Egyptian counterparts. Many professional dancers and musicians in Turkey continue to be of Romani heritage as well. (However, people of Turkish Romani heritage also have a distinct dance style which is uniquely different from the Turkish Oriental style.) Turkish dancers are known for their energetic, athletic (even gymnastic) style, and particularly, until the past few years, their adept use of finger cymbals, also known as zils. Connoisseurs of Turkish dance often say that a dancer who cannot play the zils is not an accomplished dancer. Another distinguishing element of the Turkish style is the use of the Karsilama rhythm in a 9/8 time signature, counted as 12-34-56-789. Turkish belly dance costumes can be very revealing, with the belt sometimes worn high up on the waist and split skirts which expose the entire leg, although dancers today are costuming themselves more like Egyptian dancers and wearing more modest "mermaid"-style skirts. The Turkish style is emphasized further by the dancer wearing high heels and often platform shoes. Famous Turkish belly dancers include Tulay Karaca, Nesrin Topkapi and Birgul Berai.
When immigrants from Arab States began to immigrate to New York in the 1930s and 1940s, dancers started to perform a mixture of these styles in the nightclubs and restaurants. Often called "Classic Cabaret" or "American Cabaret" belly dance, these dancers are the grandmothers and great-grandmothers of some of today's most accomplished performers, such as Anahid Sofian, Aisha Ali, and Artemis Mourat.[citation needed]
Belly dancing in the Western world
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Popularization of belly dance
Outside the Middle East, raqs sharqi dancing was popularized during the Romantic movement of the 18th and 19th centuries, whereby Orientalist artists depicted their interpretations of harem life in the Ottoman Empire. Around this time, dancers from different Middle Eastern countries began to perform at various World Fairs. They often drew crowds that rivaled those of the technology exhibits.
The term "belly dancing" is generally credited to Sol Bloom, entertainment director of the 1893 World's Fair, the World Columbian Exposition in Chicago. Although there were dancers of this type present at the 1876 Centennial in Philadelphia, it was not until the 1893 fair that it gained national attention. There were authentic dancers from several Middle Eastern and North African countries, including Syria, Turkey and Algeria, but it was the dancers in the Egyptian Theater of The Street in Cairo exhibit who gained the most notoriety. The rapid hip movements and the fact that the dancers were uncorseted, was considered shocking to the Victorian sensibilities of the day. In fact, there were attempts by many, most notably Anthony Comstock, head of the New York Society for the Suppression of Vice, to have the Egyptian theater closed.[citation needed]
Although it is popularly believed that a dancer named "Fatima", also known as Little Egypt, stole the show, and continued to popularize this form of dancing, there is in fact no evidence to support this claim.[2] Neither photographs, nor reviews of the Egyptian Theater mention any such person. The truth is that photographs, as well as accounts of the entertainments, show that there was not one solo dancer, but an entire troupe who performed in the Egyptian Theater. The popularity of these dancers spawned dozens of imitators after the Fair, many of whom claimed to have been dancers at the Chicago Fair. The most well known was Farida Mazar Spyropoulos, who was neither Egyptian nor Algerian, but Syrian.[citation needed]
The dance performed by the many dancers calling themselves "Little Egypt" was nicknamed the "Hootchy-Kootchy" or "Hoochee-Coochee", or the shimmy and shake. Due to cultural misunderstanding about the nature of the dance and misrepresentations by the many imitators in Burlesque halls and carnival sideshows, the western world considered it risqué. A short film, "Fatima's Dance," was widely distributed in the nickelodeon movie theaters. It drew criticism for its "immodest" dancing, and was eventually censored due to public pressure.[citation needed]
Thomas Edison also made several films of dancers in the 1890s in response to the craze. These included the Turkish dance, Ella Lola, 1898, and Crissie Sheridan in 1897, both available for on-line viewing through the Library of Congress. Another in this collection is Princess Rajah dance from 1904, which features a dancer playing zils (finger cymbals), doing "floor work", and balancing a chair in her teeth.[citation needed]
Several dancers, such as the French author Colette, and many other music hall performers, engaged in "oriental" dancing, sometimes passing off their own interpretations as authentic folkloric styles. There was also the sensational pseudo-Javanese dancer Mata Hari, who was convicted in 1917 by the French for being a German spy during World War I.[citation needed]. The great dancer Ruth St. Denis also engaged in Middle Eastern-inspired dancing, but her approach was to put "oriental" dancing on the stage in the context of ballet, her goal being to lift all dance to a respectable art form. (In the early 1900s, it was a common social assumption in America and Europe that dancers were women of loose morals.)
While the beautiful classical Raqs Sharqi is still popular in the West, many dancers have created fusion forms such as American Tribal Style inspired by the folkloric dance styles of India, the Middle East and North Africa and even flamenco. Dancers in the United States, while respecting the origins of belly dance, are also exploring and creating within the dance form. Many women today in the U.S. and Europe approach belly dance as a tool for empowerment and strengthening of the body, mind, and spirit. Issues of body-image, self-esteem, healing from sexual violation, sisterhood, and self-authentication are regularly addressed in belly dance classes everywhere.[citation needed]
United States
With its emergence at the 1893 World's Fair, the last four decades of the 20th century moved belly dance in the U.S. more into the mainstream. The current interest in the dance can be traced back to the 1950s and '60s. It was in the ethnic nightclubs in major cities like New York, that most Americans first became acquainted with the dance. These clubs were owned, operated and patronized by members of the ethnic communities of Mediterranean countries like Greece, Turkey, Lebanon and Syria. At the time, most of the dancers were Greek or Turkish, but in time their ranks would grow to include Americans as well.[citation needed]
In the late 1960s and early '70s many of these dancers began offering dance classes. With increasing exploration of the East in the late 1960s, many people became interested in everything Eastern, including dance. Many touring Middle Eastern or Eastern bands took dancers with them as they toured to provide a visual representation of their music, which helped to spark interest in the dance. The increased interest in belly dancing created diverse names for the same simple movements and the need to have a "style" as each teacher tried to distinguish differences in their way of teaching from other teachers. This has hampered belly dance from acceptance with the more established dance forms because there is no nationally recognized choreography terminology that can be used to create repeatable dances.[citation needed]
A recent movement in the U.S. called American Tribal Style Belly Dance, or ATS, represents everything from folklore-inspired dances to the fusion of ancient dance techniques from North India, the Middle East, and Africa. Created in 1987 by Carolena Nericcio, founder of FatChanceBellydance in San Francisco, ATS has a format consisting of a vocabulary of steps that are designed to be performed improvisationally in a lead-follow manner. ATS is performed in a group, typically with a chorus of dancers using zills, or finger cymbals, as accompaniment. The music can be folkloric or modern, and the costume is heavily layered, evoking traditions of any or all of its fusion of cultural influences.[citation needed]
Multicultural trends that have shaped Western and U.S. belly dance are still at work. Ever evolving, this versatile dance keeps absorbing a blend of influences; modern fashion, film and television imagery, the worlds of country, rock, reggae, r&b, jazz, clubhouse, and hip hop music, underground subcultures, and many other contemporary influences. The umbrella term used to describe these hybrid forms of belly dance is "belly dance fusion". One of the newest belly dance fusion trends is tribal fusion, which combines many different dance forms, including traditional 'Egyptian' or 'Cabaret' belly dance, popping and many folkloric dance styles. Another new fusion trend is gothic belly dance that incorporates many belly dance styles and motifs and seeks to express the darkness of the unknown that has inspired the music, philosophies, and lifestyles of the Goth subculture. [2][clarification needed]
Canada
Canada has a belly dance community much like the United States with many different styles ranging from Raqs Sharqi to Gypsy style. Many schools offer belly dance classes.
United Kingdom and Republic of Ireland
With its growing popularity in the western world, belly dance classes are thriving throughout the UK and Ireland, though the belly dance culture has been evidenced since the early 1960s, with many styles being taught including traditional, modern, tribal, Persian, Oriental, Turkish, Greek, Egyptian, American Tribal.
Many festivals and workshops are held over the various regions of both countries, with three of the most popular being the Annual Glastonbury Majma, [3], Raqs Britannia, [4] Jewel of Yorkshire, [5] the Khelashi Belly Dance set in Wexford, Ireland, [6] and the Rashani Tribal Belly Dance set in Dublin. [7][clarification needed]
September 2007 saw the first Annual International Bellydance Congress being held in the UK. [8][clarification needed]
Australia
The first wave of interest for belly dancing in Australia was during the late 70s to 80s with the influx of migrants and refugees escaping troubles in the Middle East, particularly the war in Lebanon. This was also the period that marked the increase in Middle Eastern musicians escaping the tensions in the region. Notable musicians of this period include drummer Jamal Zraika.
There were notable performers during this period. These included Amera Eid who started the first belly dance boutique in Australia, Amera’s Palace, and Terezka Drnzik who established the first full time belly dance school in Sydney, The Akademi of Danse Orientale. Both of these experienced dancers and teachers have pedigrees linked back to Rozeta Ahalyea whose career spanned four decades.
The biggest belly dancing event is the annual Sydney Middle Eastern Dance Festival which started out in 1990 as a Bellydance-a-thon to raise money for charity.
Notale Pioneers in the Melbourne Belly Dance scene include Belly dancers Alia, Azura, Melusina, Traisnasari, Andrea Makris, Jewel, Melissa Christina, Princess Jasmina, Male belly dancers Chris & Jamil, Pamela, Eugenia, Barbara, Egyptia & Australia's premier belly dance duo, Chris & Princess jasmina, currently perform at venues & events all over Melbourne, currently performing at Cupido's, 152 Lygon street Carlton every Friday & Saturday Night.
Melbourne's Premier Belly Dance Showcase Event, Harem nights Extravaganza, is a 6 monthly event providing live middle eastern music, workshops, stalls and an amazing showcase of dancers from all over Melbourne and guest stars from interstate such as Shiva of Sydney (April 3rd 2009) and Sahara of Sydney (September 5th 2009). Future Guests include Yasmina of Cairo Direct from Egypt (April 2010).
Tribal style belly dance in Australia is gaining popularity as well. The most notable figure in this scene is Devi Mamak, the first Australian to have been accepted as a certified Fat Chance Bellydance teacher under the guidance of Carolena Nerricio. New Fat Chance moves developed in Australia by Devi Mamak and her troupe, Ghawazi Caravan, will be added to the official list of repertoire in the 8th video. The new moves are Arabic with a turn, triangle and the crazy camel.[clarification needed]
Male belly dancing
There is much debate over where and when men became part of the belly dance world. In various media, the art form is most often represented and emphasized as empowering for women, which may imply a belief that men have no place in an art form that is frequently and erroneously believed to be historically female. However, dancers such as Morocco (Carolina Varga-Dinicu), Tariq Sultan, Jasmin Jahal, Chris (Melbourne, AUS), Shiva (Sydney AUS), Jamil (Sydney AUS) and Laurel Victoria Gray have produced ample evidence to the contrary.[3]
Pictorial evidence in the form of Turkish miniatures made during the Ottoman Empire show public performances being done by young men and boys called köçeks. These dancers were widely popular; in fact, the Sultan employed a troupe of these male dancers in addition to a troupe of female dancers, (Metin And: A pictorial history of Turkish Dance). It has long been assumed that these dancers were female impersonators, because they performed in wide flamboyant skirts. A comparison with the female dancers however, shows that this was merely a costume worn for the dramatic effect caused by the swirling fabric. The female dancers did not wear specialized costumes at this time, but the ordinary dress of all women, which consisted of a pair of "harem pants", a long shirt, tight fitting vest covered by a flowing robe tied at the waist by a belt or shawl. Nevertheless, some of these male dancers did at times impersonate women. This was because they were not simply dancers but musicians and actors as well. As was the case in Shakespearean times, all dramatic roles were played by males since women were not allowed to entertain in public.
These dancers were so popular that fights often broke out over which troupe was considered the best.[citation needed]These upheavals were so frequent that they resulted in such performances being banned for a period of time during the 1830s.[citation needed] Eventually the ban was lifted, but the decline of the Ottoman Empire, together with a push for modernization and the adoption of western tastes led to the eventual decline of such performances in Istanbul as well as other countries of the Empire such as Egypt.[citation needed] Eventually, due to tourist demand, their place was taken by female entertainers.[citation needed] Köçek dancers can still be found in the rural communities of Turkey, most notably in the region of Kastamonu. They have even begun appearing on television variety shows and on DVDs throughout Turkey.[citation needed]
The current professional version of raqs sharqi, developed in Egypt in the 1930s, was deliberately designed to display an idealized notion of feminine grace beauty and glamor. Even so men continued to play a behind the scenes role in its development. Many of the most renowned choreographers and coaches are in fact men, such as Ibrahim Akef (cousin of the dance star Naima Akef) and Mahmoud Reda (founder of the renowned Reda Ensemble, the first theater dance troupe of Egypt).
The current trend of male performers of this dance form started in the '60s and 70s in the United States by such performers and teachers as Ibrahim Farrah (an American of Lebanese descent from Pennsylvania), Roman "Bert" Balladine and John Compton to name a few. Today male belly dancers are becoming more visible, not only in the United States, but around the world.[citation needed] These modern performers have even began to resurface in the Middle East in Greece, Turkey, Lebanon and Egypt. Most male dancers face artistic as well as social challenges. Such issues as whether there are or should be differences in costuming, attitude, and the dynamics of choreography between male and female belly dancing is a subject of debate among both male and female dancers.
Given the recent boom in interest regarding belly dance, a new generation of male dancers has embraced the form. Although still small in number compared to their female counterparts, their numbers have grown dramatically in the past 20 years.[citation needed<
From Wikipedia, the free encyclopedia
| The neutrality of this article is disputed. Please see the discussion on the talk page. Please do not remove this message until the dispute is resolved. (June 2009) |
Belly dance (Arabic: رقص شرقي) is a Western term for a traditional Arab dance genre known as raqs sharqi (رقص شرقي; literally "oriental dance") or sometimes raqs baladi (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"[1], or by the Turkish 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.
Contents[hide] |
General
Today there are two forms of Oriental belly dance. The first is called raqs baladi, a social dance performed for fun and celebration by men and women of all ages, usually during festive occasions such as weddings and other social gatherings. The second form, the more theatrical and the more popular in the West today, is called raqs sharqi. Like raqs baladi, raqs sharqi is performed by both male and female dancers. In regions where belly dancing is native, boys and girls learn it informally from an early age by observing and imitating their elders during family/community celebrations and gatherings with friends.[citation needed]
Historically, most of the dances associated with belly dance were performed with the sexes separated; men with men and women with women. Few depictions of mixed dancing exist. This practice ensured that a "good" woman would not be seen dancing by anyone but her husband, her close family, or her female friends. Today, sex segregation is not as strictly practiced in many urban areas, and sometimes both men and women will dance socially among close friends at a mixed function. However, while social dancing at family functions is accepted and even encouraged, there are many people in Middle Eastern societies who regard the performances of professional dancers in revealing costumes for mixed audiences as morally objectionable. Some have even gone so far as to suggest that such performances be banned.[citation needed]
Origins
Belly dancing was originally from Ancient Babylon in southern Iraq.[citation needed] Adnanite Arabs introduced belly dancing and drumming. Belly dancing was passed on from generation to generation. The drum beats people hear today are the same beats that the Arab tribal men used. Before the arrival of Islam the tribes in Arabia used to gather women in private gatherings or special occasions and perform the belly-dancing, while men from the tribe perform on the drum.[citation needed] Men used to have large feasts of food and wine and watch women while they were dancing.
After the Arrival of Islam, belly dancing was banned due to religious reasons. During the Ummayd and the Abbasid dynasties in Iraq, belly dancing was promoted as a trade by rich people. They used local poor women and, later on, slaves from other parts of the world, especially Persia, India/Pakistan and North Africa and had the local Arab women teach them how to perform the belly dance.
During the time of the Abbasid and the Fatimid dynasties, the Arabs settled in Egypt and passed on the belly dance. Since that time, the Egyptians adopted the dance and it was passed on through generations. Egyptians have been known for having good belly dancers.
There is also some evidence that belly dancing is a reworking of movements traditionally utilized to demonstrate or ease childbirth. 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.[1].
Costume
Because the most visible venue for belly dance is nightclubs (as well as video and DVD recordings of popular Egyptian dance celebrities), it is this version, rather than the folk or social versions, that is most popular. The costume now associated with this dance is called bedleh in Arabic (meaning "suit"), and was adopted by dancers in Egypt in the 1930s, eventually spreading to other countries in the region. It owes its creation to the harem fantasy productions of vaudeville, burlesque, and Hollywood during the turn of the last century, rather than to actual authentic Middle Eastern dress. Lebanese Badia Masabni dubbed the godmother of oriental dance, singer, actress, and a night club owner in Cairo is credited with adopting this costume because it was the image that Western tourists came to expect, rather than the native caftan/kaftan - which mostly concealed the contours of the body, with a scarf or belt tied around the hips to highlight the movements. The caftan is still used by performers to cover their costumes when not on stage. One of the major contributions Badia made to oriental dance was lifting it up out of the traditions of chaabi or traditional dancing. Where before the belly dancer had a limited repertoire of arm movements she got the idea not only holding them out to the sides, but lifting them higher above the head and using more flowing gestures later known as snake arms. Not only did Badia Masabni's ideas influence how dancers carried their arms and the use of veils. She also influenced dancers to use more space on the stage. The ghawazee and almeh were performing almost entirely on one spot.
Since the 1950s, it has been illegal in Egypt, for belly dancers to perform publicly with their abdomens uncovered. Costumes for Raks Sharki are usually a long, one-piece gown or a two-piece outfit (a decorated bra top and skirt) with a sheer body stocking covering the midsection. In either case, the costumes are usually elaborate and elegant, with rich fabrics lavished with bead work, jewels, and beaded fringe. Beaded belts are usually sewn directly onto the skirt and there are matching accessories such as necklaces, arm and ankle bracelets, earrings, and headpieces. The look for Raks Sharki is glamorous and feminine
Lebanese belly dance costumes are usually elegant nightclub styles, consisting of the typical two-piece belly dance outfit of a decorated bra top and a matching belt (usually beaded) over a skirt. The skirts tend to be sheer and/or are made with less fabric than Egyptian styled outfits, showing more of the dancer's body. Using rich fabrics and jewelry the costumes of Lebanese belly dancers are very glamorous, sexy, flirtatious and elegant. The veil is more widely used and the veil matches the outfit. Unlike Egyptian dancers, Lebanese belly dancers are allowed to uncover their abdomen in public performances and do so. A unique characteristic of Lebanese dance is that the dancers often wear high heels when they dance.
Turkish costumes, especially in the 1970s and 1980s, were notorious for their brevity and sexiness. The costumes are usually the typical decorated bra top and belly dance skirt with belt. However, often the skirts are made with less fabric than the American belly dance or Egyptian belly dance style, and are very brief, showing more of the dancer's body. Beaded belts are most common and there are matching accessories such as necklaces, arm and ankle bracelets, earrings, and headpieces. Sheer fabrics are usually used in the skirt and the costumes often have cutouts on the belts or bra/bodice. Typically, the look in Turkish belly dance costumes is sexy, playful, and flirtatious
American belly dance costuming generally has a glamorous or luxurious style (think Hollywood or couture design). Classic American belly dancers usually wear a two-piece outfit, with a decorated bra top, vest, or blouse on top with a skirt and/or 'harem' pants secured at the hips (with the midriff usually, but not always, uncovered). Fabrics most often used are silks, satins, chiffons, lamés, and fabrics that glitter with sequins, beads, or metallic threads.
The mainstays of costuming for the bedlah style include 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(s) (straight, layered, circular, or paneled). In the western world a "veil" - a 3-1/2 to 4-yard piece of fabric - may also be used to accentuate swirling arm movements throughout an entire dance or part of a dance. Most Egyptian dancers use the veil as an opening prop which they discard within the first few minutes of their routines.
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. Usually belly dance is associated with a cabaret costume. The cabaret costume usually consists of hip belt, bra, skirt and/or harem pants, and one or more veils. Decorative arm coverings, wristbands, headpieces, neckbands, scarves, face veils, jewelry and shoes are optional. Makeup usually is a very important piece of costume. The belly dancer’s belt should be around the dancer’s hips, leaving the waist free to perform moves and belly rolls. The belt may have straight edge, or may be curved or angled and it should have jewels, coins, hanging fringe, or tassels on it to emphasize the movements of the hips. The dancer’s bra usually matches the belt in its decorative details and does not resemble lingerie. The classic harem pants are full, and gathered at the ankle, but could be modified. For cabaret pants are usually worn under skirt, because there could be revealed too much leg during the spins. The skirts are usually circle of different kinds of design and usually voluminous. The classic veil is usually three yards of sheer or featherweight fabric, often with decorative borders. Often to enhance the mystique of the dancer henna body art is often used. Henna is a natural vegetable dye which is prepared as a pate and topically applied to the skin. Usually henna is applied to the hands and feet. When removed after several hours, it it leaves reddish brown stain on the skin. Props are used to spark audience interest and add variety to the performance. Traditionally dancers were also performers, singers and musicians. There is a tradition to wear percussion instruments. Nevertheless today only very high skilled belly dancers use finger cymbals, many dancers rely on musicians to play for them. Some dancers use sticks and canes in their performances. Dancing with a veil which flows beautifully with dance movements adds a touch of elegance to the dance performance. Some dancers use sword for their performance, what can make the dance powerful and dramatic. The candles lights, which can dance with he dancer, add in the performance some mystery and drama. Some dancers use tambourine. This prop is very popular with Gypsy style troupes.
Techniques
Most of the basic steps and techniques used in belly dancing involve circular motions isolated to a certain part of the body. For example, a circular movement "drawn" parallel to the floor by the hips is known as a "hip circle", or by the rib-cage known as a "chest circle". Accents such as "hip lifts" or "drops" are use to draw the eye to hip movement such as "shimmies or hip circles", while shoulder or arm movements are to accent chest or belly undulations. Dancers often dance while balancing various props like baskets, swords or canes(canes in particular for folkloric dances.)as well as using silk or chiffon veils and wings for dramatic dance pieces.
Raqs Sharqi
Raqs Sharqi belly dancing consists of movements that are executed throughout the body. The focus of the dance is the pelvic and hip area. It is, fundamentally, a solo improvisational dance with its own unique dance vocabulary that is fluidly integrated with the music’s rhythm.
Raqs Sharqi dancers internalize and express the emotions evoked by the lyrics and the music. Appropriately, the music is integral to the dance. The most admired Raqs Sharqi dancers are those who can best project their emotions through dance, even if their dance is made up of simple movements. The dancer’s goal is to visually communicate to the audience the emotion and rhythm of the music. Raqs Sharqi translates from Arabic as "dance of the Orient" or "Oriental Dance". Belly dance is a misnomer as the all parts of the body are involved in the dance, and the most important body part is the hips. The dancer’s goal is to visually communicate to the audience the emotion and rhythm of the music.
Many see Raqs Sharqi as a woman's dance, celebrating the sensuality and power of being a mature woman. A common school of thought believes that young dancers have limited life experience to use as a catalyst for dance.[citation needed] Sohair Zaki, Fifi Abdou, Lucy, Nagua Fouad, and Dina are all popular Egyptian dancers above the age of forty.
Despite the fame of female dancers, men often perform Raqs Sharqi as well, however, not in public in Arab countries.
Egyptian-style raqs sharqi is based on Baladi who adpoted it from the Arab Tribes originally from Arabia and settled in Upper Egypt. Later the work of belly dance legends 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 have remained the same, the dance form continues to evolve. Nelly Mazloum and Mahmoud Reda are noted for incorporating elements of ballet into Raqs Sharqi and their influence can be seen in modern Egyptian dancers who stand on relevé as they turn or travel through their dance space in a circle or figure eight.
In Egypt, three main forms of the traditional dance are associated with belly dance: Baladi/Beledi, Sha'abi and Sharqi.
Arabic belly dance was among the first styles to be witnessed by Westerners. During Napoleon's invasion of Egypt (the campaign which yielded the Rosetta stone, leading to the translation of Egyptian hieroglyphics), Napoleon's troops encountered the Ghawazee tribe. The Ghawazee made their living as professional entertainers and musicians. The women often engaged in prostitution on the side, and often had a street dedicated to their trade in the towns where they resided, though some were quasi-nomadic.
Turkish forms
Some mistakenly believe that Turkish oriental dancing is known as Çiftetelli because this style of music has been incorporated into oriental dancing by Arabs and greeks, illustrated by the fact that the Greek belly dance is called Tsifteteli. However, Turkish Çiftetelli is more correctly a form of wedding folk music, the part that makes up the lively part of the dance at the wedding and is not connected with oriental dancing.
Turkish belly dance today may have been influenced by Arab people before the Ottoman Empire as much as by the Egyptian and Syrian/Lebanese forms, having developed from the Ottoman rakkas to the oriental dance known worldwide today. As Turkish law does not impose restrictions on Turkish dancers' movements and costuming as in Egypt, where dancers are prevented from performing floor work and certain pelvic movements, Turkish dancers are often more outwardly expressive than their Egyptian counterparts. Many professional dancers and musicians in Turkey continue to be of Romani heritage as well. (However, people of Turkish Romani heritage also have a distinct dance style which is uniquely different from the Turkish Oriental style.) Turkish dancers are known for their energetic, athletic (even gymnastic) style, and particularly, until the past few years, their adept use of finger cymbals, also known as zils. Connoisseurs of Turkish dance often say that a dancer who cannot play the zils is not an accomplished dancer. Another distinguishing element of the Turkish style is the use of the Karsilama rhythm in a 9/8 time signature, counted as 12-34-56-789. Turkish belly dance costumes can be very revealing, with the belt sometimes worn high up on the waist and split skirts which expose the entire leg, although dancers today are costuming themselves more like Egyptian dancers and wearing more modest "mermaid"-style skirts. The Turkish style is emphasized further by the dancer wearing high heels and often platform shoes. Famous Turkish belly dancers include Tulay Karaca, Nesrin Topkapi and Birgul Berai.
When immigrants from Arab States began to immigrate to New York in the 1930s and 1940s, dancers started to perform a mixture of these styles in the nightclubs and restaurants. Often called "Classic Cabaret" or "American Cabaret" belly dance, these dancers are the grandmothers and great-grandmothers of some of today's most accomplished performers, such as Anahid Sofian, Aisha Ali, and Artemis Mourat.[citation needed]
Belly dancing in the Western world
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Popularization of belly dance
Outside the Middle East, raqs sharqi dancing was popularized during the Romantic movement of the 18th and 19th centuries, whereby Orientalist artists depicted their interpretations of harem life in the Ottoman Empire. Around this time, dancers from different Middle Eastern countries began to perform at various World Fairs. They often drew crowds that rivaled those of the technology exhibits.
The term "belly dancing" is generally credited to Sol Bloom, entertainment director of the 1893 World's Fair, the World Columbian Exposition in Chicago. Although there were dancers of this type present at the 1876 Centennial in Philadelphia, it was not until the 1893 fair that it gained national attention. There were authentic dancers from several Middle Eastern and North African countries, including Syria, Turkey and Algeria, but it was the dancers in the Egyptian Theater of The Street in Cairo exhibit who gained the most notoriety. The rapid hip movements and the fact that the dancers were uncorseted, was considered shocking to the Victorian sensibilities of the day. In fact, there were attempts by many, most notably Anthony Comstock, head of the New York Society for the Suppression of Vice, to have the Egyptian theater closed.[citation needed]
Although it is popularly believed that a dancer named "Fatima", also known as Little Egypt, stole the show, and continued to popularize this form of dancing, there is in fact no evidence to support this claim.[2] Neither photographs, nor reviews of the Egyptian Theater mention any such person. The truth is that photographs, as well as accounts of the entertainments, show that there was not one solo dancer, but an entire troupe who performed in the Egyptian Theater. The popularity of these dancers spawned dozens of imitators after the Fair, many of whom claimed to have been dancers at the Chicago Fair. The most well known was Farida Mazar Spyropoulos, who was neither Egyptian nor Algerian, but Syrian.[citation needed]
The dance performed by the many dancers calling themselves "Little Egypt" was nicknamed the "Hootchy-Kootchy" or "Hoochee-Coochee", or the shimmy and shake. Due to cultural misunderstanding about the nature of the dance and misrepresentations by the many imitators in Burlesque halls and carnival sideshows, the western world considered it risqué. A short film, "Fatima's Dance," was widely distributed in the nickelodeon movie theaters. It drew criticism for its "immodest" dancing, and was eventually censored due to public pressure.[citation needed]
Thomas Edison also made several films of dancers in the 1890s in response to the craze. These included the Turkish dance, Ella Lola, 1898, and Crissie Sheridan in 1897, both available for on-line viewing through the Library of Congress. Another in this collection is Princess Rajah dance from 1904, which features a dancer playing zils (finger cymbals), doing "floor work", and balancing a chair in her teeth.[citation needed]
Several dancers, such as the French author Colette, and many other music hall performers, engaged in "oriental" dancing, sometimes passing off their own interpretations as authentic folkloric styles. There was also the sensational pseudo-Javanese dancer Mata Hari, who was convicted in 1917 by the French for being a German spy during World War I.[citation needed]. The great dancer Ruth St. Denis also engaged in Middle Eastern-inspired dancing, but her approach was to put "oriental" dancing on the stage in the context of ballet, her goal being to lift all dance to a respectable art form. (In the early 1900s, it was a common social assumption in America and Europe that dancers were women of loose morals.)
While the beautiful classical Raqs Sharqi is still popular in the West, many dancers have created fusion forms such as American Tribal Style inspired by the folkloric dance styles of India, the Middle East and North Africa and even flamenco. Dancers in the United States, while respecting the origins of belly dance, are also exploring and creating within the dance form. Many women today in the U.S. and Europe approach belly dance as a tool for empowerment and strengthening of the body, mind, and spirit. Issues of body-image, self-esteem, healing from sexual violation, sisterhood, and self-authentication are regularly addressed in belly dance classes everywhere.[citation needed]
United States
With its emergence at the 1893 World's Fair, the last four decades of the 20th century moved belly dance in the U.S. more into the mainstream. The current interest in the dance can be traced back to the 1950s and '60s. It was in the ethnic nightclubs in major cities like New York, that most Americans first became acquainted with the dance. These clubs were owned, operated and patronized by members of the ethnic communities of Mediterranean countries like Greece, Turkey, Lebanon and Syria. At the time, most of the dancers were Greek or Turkish, but in time their ranks would grow to include Americans as well.[citation needed]
In the late 1960s and early '70s many of these dancers began offering dance classes. With increasing exploration of the East in the late 1960s, many people became interested in everything Eastern, including dance. Many touring Middle Eastern or Eastern bands took dancers with them as they toured to provide a visual representation of their music, which helped to spark interest in the dance. The increased interest in belly dancing created diverse names for the same simple movements and the need to have a "style" as each teacher tried to distinguish differences in their way of teaching from other teachers. This has hampered belly dance from acceptance with the more established dance forms because there is no nationally recognized choreography terminology that can be used to create repeatable dances.[citation needed]
A recent movement in the U.S. called American Tribal Style Belly Dance, or ATS, represents everything from folklore-inspired dances to the fusion of ancient dance techniques from North India, the Middle East, and Africa. Created in 1987 by Carolena Nericcio, founder of FatChanceBellydance in San Francisco, ATS has a format consisting of a vocabulary of steps that are designed to be performed improvisationally in a lead-follow manner. ATS is performed in a group, typically with a chorus of dancers using zills, or finger cymbals, as accompaniment. The music can be folkloric or modern, and the costume is heavily layered, evoking traditions of any or all of its fusion of cultural influences.[citation needed]
Multicultural trends that have shaped Western and U.S. belly dance are still at work. Ever evolving, this versatile dance keeps absorbing a blend of influences; modern fashion, film and television imagery, the worlds of country, rock, reggae, r&b, jazz, clubhouse, and hip hop music, underground subcultures, and many other contemporary influences. The umbrella term used to describe these hybrid forms of belly dance is "belly dance fusion". One of the newest belly dance fusion trends is tribal fusion, which combines many different dance forms, including traditional 'Egyptian' or 'Cabaret' belly dance, popping and many folkloric dance styles. Another new fusion trend is gothic belly dance that incorporates many belly dance styles and motifs and seeks to express the darkness of the unknown that has inspired the music, philosophies, and lifestyles of the Goth subculture. [2][clarification needed]
Canada
Canada has a belly dance community much like the United States with many different styles ranging from Raqs Sharqi to Gypsy style. Many schools offer belly dance classes.
United Kingdom and Republic of Ireland
With its growing popularity in the western world, belly dance classes are thriving throughout the UK and Ireland, though the belly dance culture has been evidenced since the early 1960s, with many styles being taught including traditional, modern, tribal, Persian, Oriental, Turkish, Greek, Egyptian, American Tribal.
Many festivals and workshops are held over the various regions of both countries, with three of the most popular being the Annual Glastonbury Majma, [3], Raqs Britannia, [4] Jewel of Yorkshire, [5] the Khelashi Belly Dance set in Wexford, Ireland, [6] and the Rashani Tribal Belly Dance set in Dublin. [7][clarification needed]
September 2007 saw the first Annual International Bellydance Congress being held in the UK. [8][clarification needed]
Australia
The first wave of interest for belly dancing in Australia was during the late 70s to 80s with the influx of migrants and refugees escaping troubles in the Middle East, particularly the war in Lebanon. This was also the period that marked the increase in Middle Eastern musicians escaping the tensions in the region. Notable musicians of this period include drummer Jamal Zraika.
There were notable performers during this period. These included Amera Eid who started the first belly dance boutique in Australia, Amera’s Palace, and Terezka Drnzik who established the first full time belly dance school in Sydney, The Akademi of Danse Orientale. Both of these experienced dancers and teachers have pedigrees linked back to Rozeta Ahalyea whose career spanned four decades.
The biggest belly dancing event is the annual Sydney Middle Eastern Dance Festival which started out in 1990 as a Bellydance-a-thon to raise money for charity.
Notale Pioneers in the Melbourne Belly Dance scene include Belly dancers Alia, Azura, Melusina, Traisnasari, Andrea Makris, Jewel, Melissa Christina, Princess Jasmina, Male belly dancers Chris & Jamil, Pamela, Eugenia, Barbara, Egyptia & Australia's premier belly dance duo, Chris & Princess jasmina, currently perform at venues & events all over Melbourne, currently performing at Cupido's, 152 Lygon street Carlton every Friday & Saturday Night.
Melbourne's Premier Belly Dance Showcase Event, Harem nights Extravaganza, is a 6 monthly event providing live middle eastern music, workshops, stalls and an amazing showcase of dancers from all over Melbourne and guest stars from interstate such as Shiva of Sydney (April 3rd 2009) and Sahara of Sydney (September 5th 2009). Future Guests include Yasmina of Cairo Direct from Egypt (April 2010).
Tribal style belly dance in Australia is gaining popularity as well. The most notable figure in this scene is Devi Mamak, the first Australian to have been accepted as a certified Fat Chance Bellydance teacher under the guidance of Carolena Nerricio. New Fat Chance moves developed in Australia by Devi Mamak and her troupe, Ghawazi Caravan, will be added to the official list of repertoire in the 8th video. The new moves are Arabic with a turn, triangle and the crazy camel.[clarification needed]
Male belly dancing
There is much debate over where and when men became part of the belly dance world. In various media, the art form is most often represented and emphasized as empowering for women, which may imply a belief that men have no place in an art form that is frequently and erroneously believed to be historically female. However, dancers such as Morocco (Carolina Varga-Dinicu), Tariq Sultan, Jasmin Jahal, Chris (Melbourne, AUS), Shiva (Sydney AUS), Jamil (Sydney AUS) and Laurel Victoria Gray have produced ample evidence to the contrary.[3]
Pictorial evidence in the form of Turkish miniatures made during the Ottoman Empire show public performances being done by young men and boys called köçeks. These dancers were widely popular; in fact, the Sultan employed a troupe of these male dancers in addition to a troupe of female dancers, (Metin And: A pictorial history of Turkish Dance). It has long been assumed that these dancers were female impersonators, because they performed in wide flamboyant skirts. A comparison with the female dancers however, shows that this was merely a costume worn for the dramatic effect caused by the swirling fabric. The female dancers did not wear specialized costumes at this time, but the ordinary dress of all women, which consisted of a pair of "harem pants", a long shirt, tight fitting vest covered by a flowing robe tied at the waist by a belt or shawl. Nevertheless, some of these male dancers did at times impersonate women. This was because they were not simply dancers but musicians and actors as well. As was the case in Shakespearean times, all dramatic roles were played by males since women were not allowed to entertain in public.
These dancers were so popular that fights often broke out over which troupe was considered the best.[citation needed]These upheavals were so frequent that they resulted in such performances being banned for a period of time during the 1830s.[citation needed] Eventually the ban was lifted, but the decline of the Ottoman Empire, together with a push for modernization and the adoption of western tastes led to the eventual decline of such performances in Istanbul as well as other countries of the Empire such as Egypt.[citation needed] Eventually, due to tourist demand, their place was taken by female entertainers.[citation needed] Köçek dancers can still be found in the rural communities of Turkey, most notably in the region of Kastamonu. They have even begun appearing on television variety shows and on DVDs throughout Turkey.[citation needed]
The current professional version of raqs sharqi, developed in Egypt in the 1930s, was deliberately designed to display an idealized notion of feminine grace beauty and glamor. Even so men continued to play a behind the scenes role in its development. Many of the most renowned choreographers and coaches are in fact men, such as Ibrahim Akef (cousin of the dance star Naima Akef) and Mahmoud Reda (founder of the renowned Reda Ensemble, the first theater dance troupe of Egypt).
The current trend of male performers of this dance form started in the '60s and 70s in the United States by such performers and teachers as Ibrahim Farrah (an American of Lebanese descent from Pennsylvania), Roman "Bert" Balladine and John Compton to name a few. Today male belly dancers are becoming more visible, not only in the United States, but around the world.[citation needed] These modern performers have even began to resurface in the Middle East in Greece, Turkey, Lebanon and Egypt. Most male dancers face artistic as well as social challenges. Such issues as whether there are or should be differences in costuming, attitude, and the dynamics of choreography between male and female belly dancing is a subject of debate among both male and female dancers.
Given the recent boom in interest regarding belly dance, a new generation of male dancers has embraced the form. Although still small in number compared to their female counterparts, their numbers have grown dramatically in the past 20 years.[citation needed<