American Belly Dance
Belly Dance
Belly dance, aka Middle eastern dance, oriental dance, raqs sharki, or danse du ventre, started out as a dance performed by women for women (on occasions as diverse as parties and childbirth) and it remains a personal expression of delight, energy and joy. Belly dance starts with an upright torso, an open chest, aligned pelvis, soft knees (and an open heart!). Contrary to what many Americans think, real belly dancing does not consist of tipping your pelvis back like a fashion model and shaking your hips in a 'sexy' way. Proper dance posture allows you to move powerfully, even as a beginner, to layer movements one on top of another, and to express emotion in the way most appropriate for you. Undulatory movements move energy freely from one part of your body to another; traveling steps bring energy up from the earth into your body; layering movements transform the dancer into a dancing galaxy.
So now you know why belly dancers are often smiling!!
American belly dance
American belly dance is Middle Eastern dance adapted to reflect the American dancer's attitudes, experiences and culture. Since many of us were not born in the Middle East, we want the dance to reflect our American life experiences and opportunities. Hence, the use of music from all over the world; the inclusion of flamenco, gypsy Rom, modern dance, and Polynesian movements and influences; and the use of dramatic props (such as swords, veils, and candles) as partners in the dance.
A rocky start
Belly dancing in America got off to a rocky start when it was introduced at Chicago's International Exposition in the late 1800's. Many people appreciated the chance to experience authentic oriental music and dance, but others were scandalized by the sight of fully-clothed but uncorseted women moving hips and torso while dancing. American carnivals, burlesque shows, amusement parks and circuses, eager to cash in on the dance scandal, hawked pseudo-Oriental dancing all over the country. This gave 'belly dancing' an unsavory reputation which lingers to this day. Today's professional belly dancer is in the same uneasy situation as the ballet dancers of a century ago, whose fans adored them but who would never think of allowing their daughters to perform. Those of us who love belly dancing, by whatever name it is called, hope that the modern day revival of interest will encourage audiences and dancers to turn serious and permanent attention to this wonderful art form.
- Maura Enright