Raqs sharqi, a solo dance found throughout the Arab world, can be literally translated as “Eastern dance”, but is commonly referred to as “belly dance” in the West. It is a modern stage art that has grown out of the social and folkloric dances of the Arab world and is most closely related to Egyptian beledi, the social dance of Cairo. (1 & 2) It is performed by professional dancers as an entertainment at supper clubs (nightclubs), weddings, family celebrations, saints’ days and festivals. Like many Middle Eastern dance forms, much of the movement vocabulary centers on isolations of the hips and torso, hence the Western name. As its Arabic name implies, however, raqs sharqi is more complex than a particular movement technique; it is the aesthetic expression of a people and a place.
Raqs Sharqi Performance
In its modern form, raqs sharqi evolved on the nightclub stages of the metropolitan areas of the Arab world, particularly Cairo. Its movements, therefore, are largely based on those of Egyptian beledi, adapted to suit a performance-oriented nightclub setting. Raqs sharqi relies heavily on the hip articulations, torso undulations, pelvis and shoulder vibrations evident in beledi, however the center of gravity tends to be higher with a more uplifted posture. This affords the dancer the ability to project her energy and emotion a greater distance. Additionally, with a structured stage area to consider, traveling through space becomes a notable feature of raqs sharqi. Dancing on the balls of the feet aids the dancer in moving from one point to another gracefully, and to execute spins and turns. These types of movements both fill the space and allow for closer rapport to audience members.
The various areas of the Middle East have their own styles of this dance often incorporating regional movements and aesthetics into its performance. For example, the Egyptian style focuses attention largely to the midsection and hip areas of the body, while the arms are used mainly to frame the movement. In Lebanon there is typically a greater use of the arms as focal points in themselves, hair tosses, and whole body movements such as backbends, with less emphasis on subtle torso and hip isolations than the Egyptian style. Movement style may also be influenced by the use of costume accessories. In all Middle Eastern countries in which raqs sharqi is found, it is performed in a bedlah- Arabic for “suit”- the easily recognizable two piece sequined garment normally associated with it. However, while dancers in some regions prefer dancing in bare feet, others wear high heels while performing. This pitches the body’s weight forward, and significantly alters the look and feel of the movement. Regardless of regional aesthetic tastes in dress and technique, ideally a dancer’s proficiency is judged by her emotional and physical connection to the music.
1. This clearly defined terminology of sharqi and beledi is my own. It is based on how I have heard people’s of the middle East refer to these dance forms most often. However, I have made the terms more concrete for clarity.
2. Sahra Kent, in her Journey Through Egypt seminars, identifies what I call beledi as falling into the dance zone of Cairo. My own personal observations likewise support her thesis.
Tags: belly dance, Egypt, Raqs Sharqi
