DVD Reviews

DVD 1: Egyptian Belly Dancing for Beginners, with Hilary Thacker.

Duration: Approx 53 minutes

Instructor: "Hilary Thacker is a renowned professional Egyptian-Style belly dancer performing and teaching throughout the UK and Middle-East."

The DVD is somewhat old-fashion but despite the lack of visually impressive imagery and clear sound quality, the DVD itself teaches the most important basic movements of Egyptian belly dance. The instruction is easy to follow and each segment gives you the opportunity to create your own short piece of choreography at the end by combining what you've learnt. It is advised to pause and play to benefit from the instruction and to ensure you're keeping up with the movements. It is quite short in length when left to play continuously and you're left wanting more content. If you're looking for the key belly dance moves, this is the right DVD, it could just benefit from better sound quality and filming techniques. As good as having a teacher in the living room.

Rating:
3/5 for Music & Sound Quality
4.5/5 for Belly Dance Content

DVD 2: Discover Bellydance, Fitness for Beginners with Veena & Neena Bidasha

Duration: Approx 66 Minutes

Instructors: "Join Veena & Neena Bidasha for a wonderful introduction to the extraordinary benefits of bellydance. The have practiced bellydance since childhood and traveled throughout the world to perform and develop their techniques. They have performed in film, television, theatre, music videos and even during the Academy Awards."

A modern and energetic workout DVD, the instructors are full of enthusiasm and their style of instruction is good, but can be hard to follow. If you look away, you're likely to miss their change of movement while their descriptions don't fully relate to the movement examples. However, the fitness elements of the DVD are excellent and it is a complete workout from head to toe, incorporating some belly dance steps and movements. If you're looking for ways to keep fit and learn a few belly dance moves, this is the right DVD. But be aware that it is not necessarily an instructional DVD about 'how to' belly dance.

Rating:
5/5 for Music & Sound Quality
3.5/5 for Belly Dance Content

Part 5 - Steps & Walks (Intermediate)

Intermediate steps


Swagger Walk (Also known as Egyptian Walk)
Very similar to Egyptian walk. Stepping forward on the right foot, drop the (right) hip as if you are about to sit down, pushing out the opposite hip to accommodate it, and bending both knees at the same time. Just as you come up to lift the left foot for the next step slide the hips from side to side 2 or 3 times quickly in a soft snap movement, and then place your left foot down as the next leading foot. The snap movements should be between each forward step. As you walk, alternate your arms (opposite arm to leading foot) across the body adding a slow shoulder shimmy movement.

Sharki Walk - A simpler version of the Swagger Walk. Step forwards and as you do so, push out your opposite hip, bending both knees at the same time. Keep your back straight.

Sideways/Vertical Camel - This is a movement done facing the front and moving to the side. Step to the right, and immediately lean slightly over to the right, leading with your shoulder. Bring your shoulder down and around back up (in an arc), straightening up and bringing your left foot close up to the right. Arms can be held out to the sides, following the flow of the body and doing a snake arm movement. Reverse the whole sequence for the left. Alternatively you can start your move by stepping out to the side onto the ball of your foot, raising and leading with your hip and as your transfer the weight and lower your heel, straighten up by bringing your same side shoulder and opposite foot in. There should be a slight delay between stepping with your foot and bringing the shoulder into line. This move is very similar to a travelling vertical Fig 8.

Kenyan - Facing the front bring your right leg in an arc towards your left leg and outwards in a small circle back to its original position, As you swing your leg out and around, turn in the direction of the foot and push your chest and torso outwards and forwards slightly, echoing the arc of the foot. Repeat on the left and alternate from side to side. See Brush Circles.

Swerves - This is a travelling step, which can be used to move in any direction. For a more folky, flatfooted version, start with both feet side by side, and then with your weight on your left foot, kick forwards twisting the hip inwards slightly, with your right heel tilted slightly inwards and upwards. Replace the right foot, then lift and repeat on the same hip & foot. The move can also be done kicking with the left foot. Always kick with the same foot repeatedly moving in one direction, then change over to the other foot when you change direction. This move works well when using zils. For a faster lighter version, come up onto the balls of the feet, and twist both heels in the same direction, lifting one foot off the ground with an inward kick or lift. Make sure both knees are slightly bent. Twist both hips in the same direction as the lifted foot to add extra emphasis. If you are repeatedly lifting and twisting your right foot and hip, travel to the right, and vice versa. For further variations, emphasise the upward/outward movement with an extra lift on the toes, or emphasise the downwards movement with a deeper bend of the knees.

Camel Walk - Using the camel movement with the body, take small steps on the balls of the feet, always leading with the same foot. This can also be done facing the front and stepping to the side, one foot stepping behind the other. A variation is to camel using the step-ball-step.

Swerve-Shuffle - A move that uses the swerve action. Starting on the right foot, twist the hips to the left, and at the same time, bend your right knee and lightly kick out foot. Then, twisting your hips and shuffling 1-2-3 (starting on the right foot and moving to the right) then kick out your left foot then shuffle to the left (1-2-3). Repeat on alternate sides. This can either be done on the spot, or can be used to move slowly to the left or right.

Backstep - This step is used to travel in one direction at a time. Turning to face diagonally to the right corner of the room, step forward onto the right foot. Almost immediately, push off the left ball of the foot with the heel raised, pushing up the hip, bringing the left foot in just behind the right. Keep repeating, keeping the left heel raised up. To travel left, step forward on the left, followed up by the right. Should be an undulating continuous step. Saidi Variation: Step forward as before, but when you bring the back leg in towards the other, bring both legs together with knees level and bend. Then, push off with the back leg at the same time as straightening up and stepping forwards with the front foot. Keep your back straight, and don't be tempted to bend further than your knees will go comfortably.

Sources/Research: My teacher
Shira
Belly Dance UK
Caroline Belly Dancer

Part 5 - Steps & Walks (Beginners)

Beginners Steps

Step-Ball-Step - Step forward on the right foot (flat footed), then stepping on the ball of the left foot bring the left foot close behind and then take another step onto the right foot. Then bring the left foot into the front (flat footed) to start the whole movement again starting on the left. This should be a continuous movement.

Scissor Walk - This is a step-ball-step step, but as you move, you bring your arms alternately forward across the body as if to touch the knee of the opposite leg, as you step forward on that leg. This is also a continuous movement.

Zig-Zag step - This can be done on the spot or used as a travelling step. Using the Step Ball Step, turn to the left and starting on the left foot, camel and step on the spot, then turn 45 to the right, repeat, and alternate. As a travelling step, imagine a zig-zag line drawn on the floor in the direction you want to travel, then step alternately to the right and left on this path moving forward with each SBS.

Grapevine - This is a travelling step, which can be done either to right or left. Moving to the right, bring your left foot in front of your right, step out with your right foot to the side, then bring your left foot behind the right, and then the right foot out to the side again, and keep on repeating. To travel left, start with your right foot stepping in front of your left, just reversing the whole sequence. This can be done flat footed or on the balls of the feet.

Arabesques - This is a balletic movement featured in the Raks Sharki style of dance. Using the basic zig-zag step, step to the left but start with the right foot. As you make your 45 turn (on the ball of the right foot), allow your left foot to swing out and around in a large arc off the floor, replacing it across in front to start the SBS for the right hand side. For the right side start by stepping across yourself again with your left foot and swing out your right foot as you turn, and keep repeating. This move can also be done in reverse with the swinging foot moving from front to back. This also looks very effective when holding a veil behind with arms outstretched.

African - Using a zig-zag step (SBS) to the right and left, push out your chest and curve your back as you step forwards, then straighten up as you bring the back foot in. Bend your arms at the elbow and hold at your sides, bending the elbows backwards (as if trying to touch them together behind your back), as you step forwards. Looks as if you're doing chicken impressions!

Arabic Walk - Step forward on the right foot, and slide the left foot up behind with the heel raised slightly, then keep repeating. Keep both knees bent, with the leading one more so. The arms should be held at right angles to the body - one straight out in front and the other raised up above the head. A camel movement can be added to this. This is an American Tribal step.

Sheeba Walk -This step is based on the forward and reverse horizontal hips fig 8's. To go forward, use the forward fig 8: twist your right hip forward, and as you swing it around to the side you take a step forward, taking 75% of your weight in your right foot, and at the same time lifting your left heel. As you bring the hip back into the centre to transfer from one side to the other, you will already be twisting the left hip to the front, and lifting the left foot to step forwards. To go backwards: twist right hip back and step back with the right foot at the same time. As you swing the right hip around the side to the front (and towards the centre) you briefly take all the weight in the right foot as you lift your left foot to step back, whilst twisting the left hip to the back to repeat on that side. It should be a flowing, sassy, sensual hip movement. Try holding your arms above your head in a 'V' shape as you do it.

Sources/Research: My teacher
Shira
Belly Dance UK
Caroline Belly Dancer

Part 4 - The Hips (section B)

Hip Twists – Bring one hip forward and then move it back, repeating this movement. You can travel with this by stepping forwards, backwards or to the side. As well as going up and down. Keep the rest of the body still.

Hip Shimmy – You move the knees rapidly controlling the movement with your hips, alternatively you can squeeze the gluteus muscles individually. The end result should be a rapid ‘vibration’ of the hips from side to side.

Egyptian or "straight legged" shimmy - This involves keeping the legs straight but not locked. Drive the movement with the thighs, allowing the knees to move freely. The hip is loose and relaxed with no tension in any other part of the body. This shimmy is perhaps one of the easiest to sustain and due to the straight legged nature of the posture allows for ease of layering for undulations and shimmy twists.

Bent legged shimmy - Keep legs close together and bend knees slightly. This shimmy produces a more rolling effect. The knees move freely.

Shivers - There are two ways to produce shivers - with straight legs or bent knees. The straight legged shiver is more often performed with the body weight on one leg and this supporting leg is the one that shivers. The bent leg shiver produces exquisite tremors which can be layered with figure eights and walking.

Forward Vertical Figure 8 – Imagine you have a figure eight laying on the floor at your feet, you bring you right hip forward, go round to the back, across to the other side and bring the left hip forward and round to the back and over to the other side. The movement should be smooth.

Backward Vertical Figure – Using the same principles as the forward, but instead you bring your right hip to the back, round to the front and then slide across and back to the other side, bring the left hip round to the front and then back over to the other side to start again.

Upwards Horizontal Figure 8 – Imagine you have the figure of eight floating on it’s side in front of your pelvic area. Bring the right hip up, out, round and down then push over and down to the other side and bring the left hip up, out, round and down. You are using the balls of your feet to lift and lower the movement. The movement is accentuated as you come up and down.

Downwards Horizontal Figure 8 – You start with the right hip up, bring it out, round and down, slide over and up to the other side. Now you have your left hip up, bring out, round, down and over and up to the other side. The movement is accentuated as you come down and up.

Hip bump and twist – Push your hip out to the right, as though you’re slamming the car door shut shifting all you weight to that side (this is the hip bump) and then twist the right hip forward and back, then sway over to the left and push out (shifting the weight to the other side) and twist forward and back.

Hip drops, lifts and kicks – Move the right foot in front of the left, resting on the ball of the foot, keep the left foot flat. Starting with the hip up, drop it, then lift and as you drop the second time kick out the right foot. Keep repeating the hip lift, hip drop, then hip lift, drop and kick. Make sure you scrape your foot along the floor, as though you have something on the bottom of your foot.

Bicycle Hips – Bring the right hip up, slide it back then down and across to the middle, then slide it up, forward and down then back. You can do this on both sides by alternating.

Sources/Research: My teacher/Shira
Belly Dance UK
Caroline Belly Dancer

Part 4: The Hips (section A)

Large Hip Circles – Using both the lower and upper body, move the hips from the right to the left. Your upper body should be leaning forward and your arms come down as though you’re scooping up water. As you finish the circle you bring your body and arms up and move them behind you as your hips and pelvic bone move from left to right in front of you.

Small Hip Circles – A much smaller version of the large hip circle, but not as compact as the inner hip circle. It's useful to imagine you have a small ring around your ankles and you're following it with your hips.

Inner Hip Circles – Squeezing the gluteus muscles individually and allowing the lower stomach muscles to respond accordingly and then release individually to create a small circular movement. The hips are not moving side to side, the knees should be relaxed and bent.

Outer Hip Circles – Circle the pelvic bone around the feet – left, front, side and back.

Half circle forwards/backwards – Bring the hips from the side, pushing back and round to the other side or forward and round to the other side but stop halfway.

Hip circle on one hip – Stand with the right or left leg bent and on the ball of the foot, while the other food is flat. Rotate the hip using the bent leg by bringing it forward, then up and round, then back to the centre.

Hip Slides – Move the hips from side to side, keeping the upper body in the same position, as though there is a strait line running through the centre of your feet and out beyond hips on both sides.

Hip Bumps – You shift your weight from right to left, pushing your hips out to the side as though you’re pushing a car door shut with your hip. The movement is fast and ‘punchy’. The knees bend as your weight shifts. So, the hip that is bumping will have an almost strait leg, while the other is relaxed and bent.

Hip Lifts – You lift each hip up quickly and control the movement back down

Hip Drops – You start with the hip lifted and drop it quickly and control the movement back up.

Advanced Hip Drops -These involve using the muscle groups in the thighs and buttocks with the minimum movement of the pelvis and thigh.

Egyptian Hip Tilt -This involves further isolation techniques of the hip and is for advanced students only.

Zuhair Zaki Dump -A dump is where the hip is pushed down into the ground without allowing the leg to push the hip upwards at any time. The result is a unique and fascinating movement that was the signature move of the famous Egyptian dancer, Zuhair Zaki. As with the Egyptian Walk, this movement is notoriously difficult to teach and master. It can take years to perfect and requires hours of practice. The basic technique requires the pelvic hip bone to slide down towards the ground, whilst not allowing any lift to the ball and socket part of the hip. There will be a tugging, pulling sensation of the muscles around the waist.

Fifi Abdou Dump - This movement is advanced and complete mastery of the basic dump is needed before you can even begin to get your head around it. It is a complex movement involving three different layers - the dump, the shimmy and the twist. There is also a characteristic double stamp of the foot.

Sources/Research: My teacher/Bellydanceuk.co.uk /Shira.net /Bellydancevideos.com /Carolinebellydancer.co.uk

Part 3: Abdomen

Belly Roll – This is an extremely advanced and complex movement where you isolate the stomach muscles in three sections (the lower, middle and upper). Each section is tensed and released at different times. This creates a rolling effect, whether ‘rolling upwards’ or ‘rolling downwards’. The rest of the body remains still. The back must not be used as this will end up creating a body wave. Of course, layering one move over the other is integral to the art of belly dance, it is best to practise the belly roll on its own.

Undulations and Body Waves (the camel) – Bring the left foot in front of the right, move the weight of your body forward and back. First, lift the chest up and forwards, then pull it inwards and back, now gently tuck in the stomach and shift the weight of your hips from front to back. Your feet will be taking your body weight alternatively as you move forwards and backwards. Imagine you have a pole directly behind your back, you first want to touch the pole in between your shoulder blades and upper part of your back, then run the spine in a snake like motion down the pole until your coccyx is resting at the end. You should end with the weight on the back of your right heel.

Abdomen Flutters/Pulsations – Pull in the stomach using the upper part of the abdomen and release at a medium or fast pace to create abdominal ‘drum’ movements, or 'flutters'.


Sources/Research: Shira
Belly Dance UK
Caroline Belly Dancer

Part 2: Arms, Shoulders, Rib Cage & Chest

Arms & Shoulders

Shoulder Roll – Bring right shoulder forward, up, back and down then alternate bringing left shoulder forward, up, back and down.

Snake Arms (side) – Arms are out to the side. The same principle as the shoulder roll but bring then bring the elbow up and down, followed by the hand - as though you’re painting the wall. This move should be delicate and smooth and never bring both up at the same time, they must be alternating.

Snake Arms (front) – Arms should be out in front of you. Roll the shoulder forward, up, back and down as you do move the elbow up and then down, followed by the wrist. Then do the same on the other side. Never do both as the same time, they must be alternating.

Standing Shoulder Shimmy – Arms should be out to the side, elbows relaxed, palms facing down, wrists dropped and hands curved right to the finger tip (as though you have a small thimble between your thumb and middle finger). Punch the right shoulder forward and back rapidly, as you do this the left shoulder will be doing the opposite. So as you punch forward with the right, the left is towards the back.

Forward & Back Shoulder Shimmy – As you do the shoulder shimmy, stand with the right foot in front of the left, resting on the ball of the foot and lean forward, shimmy and lean back, shimmy. You can also do this facing to the right and then to left and incorporate a cross-over step. So when you’re facing left, your left foot is in front of the right resting on the ball of the foot.

Right, Centre, Left Shoulder Shimmy – Lift and twist your upper body to the right, shimmy, come back to the centre, shimmy and twist over to the left and shimmy. You can add a curved ‘U’ motion to this, so as you move into each position you’re following the shape of a ‘U’.


Rib Cage & Chest:

Horizontal Rib Cage Circle – Move to the chest to the right, then front, then left and back. In a smooth circular motion, the upper part of your back will also move in motion. These can be big or small circles. Imagine there’s a small hula-hoop stationary around your waist and you are following it.

Vertical Rib Cage Circle – Lift the chest and pull it forward as though someone is pulling the centre of your chest with a piece of string. Twist over to the right, lift up and over to the centre, then over and down to the left and end back in the centre. Imagine there’s a circle directly in front of your chest and you are following it.

Chest lift – As the description sounds you lift your chest and drop it back down, these can be singular or repetitive. Remember only to use the muscle under the rib cage and not the lift shoulders or arch your back.

Chest Taqs – This involves lifting and dropping the chest at a fast pace to reflect the rhythm of a drum.

Forward Figure 8 – This is the same principle as the hip figure eight, only you are using your chest and shoulders. Move the right side of your chest and shoulder forwards, then round and back. Slide over to the left, and now your left shoulder should be forward, move it out and round to the back.

Backward Figure 8 – You reverse the forward figure eight and move the right side of your chest and shoulders to the back, round and then forward. Slide over to the left, back, round and then forward.

Horizonal figure 8 – Imagine you have the figure of eight on its side in front of your chest. Move the right side of you chest and shoulder down, out to the side, round and up and then sway over to the left side, move that round, out and up. Imagine you you’re rocking on a boat but only your top half is keeping you balanced.

Sources/Research: My teacher/Shira
Belly Dance UK
Caroline Belly Dancer

Part 1: Posture, Breathing & Positioning

Posture - Stand with your feet slightly apart, approximately hip or shoulder width, with both feet flat on the ground and your toes pointing forward. Your weight should be evenly distributed between both feet and you should feel solidly connected to the ground. Knees start out slightly bent, relaxed and flexible. Hips and pelvis are centred and held level to the ground. The ribcage is pulled gently up with the stomach held comfortably in. Shoulders are relaxed, back and down.

Be aware of your centre axis, or vertical body alignment. Imagine a line running from the top of your head, through the centre of your torso and exiting between your feet.

There are many arm positions and arm movements that can accompany the basic stance, but it's easiest to just hold the arms in a graceful and comfortable pose. As a beginner, I find it best to begin with my arms out to the side, elbows relaxed with a slight bend, wrists flopped as though in ballet and palms facing the floor.

Always remember to warm up before starting any form of dance. This will involve stretching all parts of the body.

Breathing - You’ll notice a tremendous difference in your dancing if you take even as little as five minutes to do some form of deep breathing exercise immediately before dance class (or performance). The breathing goes through your entire spinal column to pull together all the forces within yourself and focus everything towards the dancing.

Three-part inhalation: First, exhale completely until there is absolutely nothing left to exhale. Pause, and begin your breath through the nose, with the mouth closed. Start the breath and expand the lower abdomen. As that area fills, let the breath move into the diaphragm area and up to the sternum under the ribs. As the area up under the ribs fills, let the breath expand to the back of the ribcage on either side of the spine. The final part of the three-part breath is to let it expand to the top of the ribcage and all the way up to the base of the neck, not to forget the back of the ribs as well. You’ll feel the breath expanding into the shoulder blades which will help release muscular tension.

Three-part exhalation. Now reverse the process by exhaling from the top, then moving on to the middle, and finally the lower abdomen. Feel yourself completely let go and retract each area from the shoulder blades, right down to the lower abdomen. Resist the temptation to bend forward and keep the entire spine up through the shoulders completely straight. During the exhalation, feel that all the stiffness, lethargy, and tension are exiting through the base of the spine.

It is important when dancing that you breathe through the mouth when executing movements. This is to avoid any stiffness in the jaw.

Head Positioning – The head is used for not only expression but balance and control. When facing the front the chin should be lifted and the head pulled up. Imagine a piece of string is attached to the crown of your head and you’re being pulled to the ceiling. When turning, try to focus on one point in the room and keep focused on that point until your body has turned, you bring your head round last and end by focusing back on the starting point. When leaning back, it looks effective when you tilt the head back as well, but remember not to tilt it too far. It should be just enough to create the arch of a semi-circle. The head can also follow arm movements that flow out to the side and upwards, but so long as they are not done too often or too quickly.

Finger & Wrist Positioning - Fingers should always be relaxed and the thumb and middle finger almost touching as though you are holding a thimble. When you turn the wrists , turn as though you are placing the thimble onto a table, then picking it back up again. The fingers and hand can be used to add snake-like effects or ripples. The wrists should be gently tilted downwards, similar to the position used in ballet.

Feet Positioning - For a lot of Egyptian belly dance, the feet are flat, some walks are performed on the balls of the feet and sometimes alternate feet will kick out in a scraping motion to the front, tap to the side or the entire foot may turn out to the side.




Sources/Research: My Teacher/youtube.com/ Shira
Belly Dance UK
Caroline Belly Dancer

Belly Dance Techniques

The following posts will contain a list of belly dance movements with a description of how to do them. These lists do not contain all the moves and as time goes on, I will add more to each list and may make corrections where necessary.

Please never attempt to do any form of exercise without warming up first. This will involve stretching the entire body and should you suffer from any aches or pains, please consult a doctor before trying any form of exercise.

It is advised that you find a belly dance teacher local to you before attempting to teach yourself any of the moves. Descriptions and techniques may vary, which is another reason it is advisable to attend regular classes.

The next few posts will focus on the techniques of belly dancing in the following order:

Posture

Breathing

Head Positioning

Finger & Wrist Positioning

Feet Positioning

Shoulders & Arms

Rib Cage and Chest

Abdomen

Undulations & Body Waves

Hips

Traveling Steps & Walks

Floor Work

Sources/Research:

Shira
Belly Dance UK
Caroline Belly Dancer

Belly Dancing Movement

Most of the movements in belly dancing involve isolating different parts of the body (the hips, shoulders, stomach etc), which appear to be similar to the isolations used in jazz ballet, but are often driven in a different way.

All belly dancing movements take into consideration the entire body, but it is best to practice each move individually to build on your isolation techniques, which enables you to make a smooth transition from one move to the next. The hips and pelvic area play a key part in the art of belly dancing, however, the position of the head, shoulders, arms, legs and feet are crucial to each movement.

There's no rule book that says how you should put the moves together to create a dance, but they need to be arranged in way that allows you to flow elegantly into each position without looking clumsy. Egyptian belly dance, like any other dance, needs to be creative and expressive as well as reflecting the rhythm of the music. It is important to understand the history and culture of Egypt and the Middle East to appreciate the art form and the music that accompanies it.





Sources/Research: You Tube / Shira

Belly Dance Costume

One of the most appealing aspects of this dance is the variety of costumes in bright colours and flowing fabric, with delicate beading and shiny jewels. The costume is great for accentuating moves, adding effect and creating a mood.

However, it's not what belly dancing is about, the costumes are purely for an aesthetic reason and various costumes were introduced worldwide when the dance entered stage and screen. Saying that, it's important to know what is appropriate and the type of costume available.

Most beginners will start by wearing a hip scarf which can be very noisy but it helps the student with the sound of movement, which in turn will eventually help to create fluid movements that are integrated with the music.

A hip scarf can be worn tied up in the middle or tied up at the side, most prefer the coins to be resting on both hips either side. The hip scarf can have straight, curved or angled edge. Egyptian dancers traditionally dance in bare feet, but these days often wear shoes and even high heels.

The costume most associated with belly dance is called bedleh (which is Arabic for suit) but it is not authentic Middle Eastern dress.

The bedleh style includes a fitted top or bra and hip belt, both can be richly decorated with beads, sequins, braid and embroidery. This can be combined with either a skirt or harem pants and the belt may be a separate piece or attached. Sometimes pants and a flowing skirt are worn together, in which case, the skirts are usually made of multiple layers of sheer fabric such as chiffon. The other type of skirt is made from a figure-hugging lycra material which is usually worn on its own.

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.

Costume Worldwide:

Since the 1950s, it has been illegal in Egypt for belly dancers to perform publicly with their abdomens uncovered or to display excessive skin. It is therefore becoming more common to perform in a long, lycra one-piece gown with strategically placed cut-outs filled in with sheer, flesh-coloured fabric.

In Lebanon, the bedleh style is quite common and the skirts tend to be a skimpier than Egyptian outfits, showing more of the dancer's body.

Turkish dancers also wear bedleh style costumes. In the 80s and 90s the art became debased in Turkey and a 'stripperesque' costume style developed, with much shorter skirts and bras that display a large amount of cleavage. Such styles still exist and reflect the playful, flirty style of Turkish belly dance. However, there are also many who opt for the more moderate costumes.

Dancers in America and the United Kingdom often purchase their costumes from Egypt or Turkey. However, American costumes are likely to include a headband with fringe, sheer harem pants or skirt rather than tight lycra and the use of coins and metalwork for decoration.

Sources/Research: Wikipedia / Shira
Here are a selection of my favourite costumes from http://www.turkishemporium.co.uk. The prices are high, but they do a very wide range and not necessarily Turkish.

Benefits of Belly Dance

'Many women today approach belly dance not only as a dance form, but as a tool for empowerment and strengthening of the body, mind and spirit.'(Quote)

Belly dance is especially good for women, it can reduce the risk of osteoporosis, there's minimal stress on the knees and feet, it can improve circulation and assist in building cardiovascular strength (if choosing to make it physically challenging). The advantage of belly dance is that it is suitable for all ages and body types. Many belly dance moves develop the ability to move various muscle groups independently, increasing flexibility in the torso and back, whilst the legs are strengthened by hip movements.

It can also burn as many calories as light jogging, swimming or riding a bike!

Music and use of expression is just as important as learning the movements of belly dance alone. Dance is an art and involves the 'inner self' as much as the 'physical self'.

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 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. This is especially apparent during the drum solo portion of a performance.'

Souces/Research: Wikipedia / Esto / YouTube

Origins of Belly Dance

Belly dance, otherwise known as raqs sharqi in Arabic (meaning oriental dance), is a folk dance native to the Middle East. Due to its popularity worldwide, belly dance differs from region to region in both dance style and costume, suggesting that other forms of dance have been incorporated into more traditional styles of Middle-Eastern dance. However, it is still extremely difficult to trace the origins of this art form but there are two dominant possibilities of how this dance originated.

The first being that it is 'a reworking of movements traditionally utilized to demonstrate or ease childbirth, and was used by women for that purpose.' During a performance, dancers will predominantly work the muscles of the abdomen and back, as well as the rest of the body.

The second possibility is that poor women in the Middle-East learned the dance as a way to make money by entertaining rich men. Thus, resulting in the stigma attached to belly dance. On the contrary, many believe it was Western culture that created the negativity towards belly dancing through 'commercialisation' of the art form through films and on the stage.

But the Egyptian movie industry soon followed and its performers were placed in costumes similar to those produced halfway across the world. Egyptian dance was soon being viewed as a performing art, rather than a social dance. So the early 'stars' of Egyptian dance are considered to be a big part of Arabic cultural heritage.

I prefer to believe that the role of oriental dance in Middle-Eastern society has been that of a folk dance that people would do at joyous occasions such as weddings, the birth of a child, community festivals, and other events that bring people together to party. It was a dance that men, women and children did for fun, not a "performance" done to entertain an audience. It just so happens that its entertaining value and enjoyment for both the performer and those watching has helped to shape the future of the dance to this day.

A very thorough and informative article can be found at: http://www.venusbellydance.com/2008/articles_history.html

Sources/Research: Wikipedia /Shira / YouTube