Amanda (was Aziyade)
Well-known member
Well I think at its WIDEST possible definition, people would say it's a movement vocabulary, consisting of torso and hip articulations. That's enough for people who believe it to be only a movement vocabulary. You can't ever really get people to pin down HOW MUCH bellydance movement needs to be in it, though.
A more narrow definition would depend on if you consider it to be an ethnic dance. If so, it needs to be done to culturally-connected music, and presented in such a fashion that a person OF that ethnicity would recognize it as such.
But pretty much EVERY online forum has discussed it, over and over again. The magazines I have from the 70s were discussing it. Apparently there were some instructors in the 70s who were heavily into Orientalist fantasies, and just made up a lot of stuff, and performed with stage names like Fatima and Sheherezade, leading the public to believe this WAS the kind of dancing done in Ottoman Turkey or 1920's Cairo, or modern day Iraq, or whatever.
Cheart, I think when you're thinking about placing your personal style, I'll tell you what worked for me and what I believe.
I believe this dance STARTS with and CULMINATES in the music. I think if Egypt had developed a type of music that sounds more like Chinese folk music, you would not see the kind of movement and musical interpretation that you do. I believe the music comes first, and the dance comes from the music. I believe this because I can see how when the music changes, the dance itself changes. I can see the evolution in the dancer's physical response from a small takht to a large sectioned orchestra. Su'ad Mazin danced the way she did because of the music she had to work with. I've seen comparable parallels in other folk dances.
Now, I have to say I don't dance to American music, or heavily Western influenced music. Hakim is as pop/Shaabi as I get, and I don't really dance to him at all much anymore. I don't enjoy dancing to American music -- at least, I don't enjoy trying to HEAR American music like a bellydancer anymore. I love clubbing -- but that's diff. I fell deeply in love with old-school Turkish folk music and Armenian Kef music, and 80s style Turkish dance is still one of my first loves. I was enchanted with Saidi music -- I felt like that was what I was born to dance to, when I first heard it. And from there I fell in love with Egyptian Raqs Sharqi music and now again, Baladi music. The more I understand about the MUSIC itself, the more I love it, and the more enjoyment I get out of dancing to it. I get bored dancing to western music like Marco Polo now. It doesn't feel as full to me.
What advice I would give you is to spend a couple of months POURING over music. Listen to everything you can. Make notes. Keep a record of the music that really makes you want to move and moves YOU. You may surprise yourself. I was fully convinced I was going to be a Turkish style dancer, thus my stage name. But Egyptian music came along and swept me off my feet. (Well, and seeing Sohair Zaki dance -- she was the one who really made me decide I HAD to do what she did.)
While you're listening to the music, go back and watch GOOD DANCERS of all styles. Dani Boustrous and Amani. Sibel Baris and Tulay Caraca. Alexandra King and Cory Zamora. Carolena and Paulette. Naima Akef and Sohair Zaki... you get the drift. What moves you? Whose musical interpretation do you really DIG? Whose is closer to what you WANT to be dancing? I think that's the best way to figure out what our own eventual styles will become. But it's always a work in progress.
A more narrow definition would depend on if you consider it to be an ethnic dance. If so, it needs to be done to culturally-connected music, and presented in such a fashion that a person OF that ethnicity would recognize it as such.
But pretty much EVERY online forum has discussed it, over and over again. The magazines I have from the 70s were discussing it. Apparently there were some instructors in the 70s who were heavily into Orientalist fantasies, and just made up a lot of stuff, and performed with stage names like Fatima and Sheherezade, leading the public to believe this WAS the kind of dancing done in Ottoman Turkey or 1920's Cairo, or modern day Iraq, or whatever.
Cheart, I think when you're thinking about placing your personal style, I'll tell you what worked for me and what I believe.
I believe this dance STARTS with and CULMINATES in the music. I think if Egypt had developed a type of music that sounds more like Chinese folk music, you would not see the kind of movement and musical interpretation that you do. I believe the music comes first, and the dance comes from the music. I believe this because I can see how when the music changes, the dance itself changes. I can see the evolution in the dancer's physical response from a small takht to a large sectioned orchestra. Su'ad Mazin danced the way she did because of the music she had to work with. I've seen comparable parallels in other folk dances.
Now, I have to say I don't dance to American music, or heavily Western influenced music. Hakim is as pop/Shaabi as I get, and I don't really dance to him at all much anymore. I don't enjoy dancing to American music -- at least, I don't enjoy trying to HEAR American music like a bellydancer anymore. I love clubbing -- but that's diff. I fell deeply in love with old-school Turkish folk music and Armenian Kef music, and 80s style Turkish dance is still one of my first loves. I was enchanted with Saidi music -- I felt like that was what I was born to dance to, when I first heard it. And from there I fell in love with Egyptian Raqs Sharqi music and now again, Baladi music. The more I understand about the MUSIC itself, the more I love it, and the more enjoyment I get out of dancing to it. I get bored dancing to western music like Marco Polo now. It doesn't feel as full to me.
What advice I would give you is to spend a couple of months POURING over music. Listen to everything you can. Make notes. Keep a record of the music that really makes you want to move and moves YOU. You may surprise yourself. I was fully convinced I was going to be a Turkish style dancer, thus my stage name. But Egyptian music came along and swept me off my feet. (Well, and seeing Sohair Zaki dance -- she was the one who really made me decide I HAD to do what she did.)
While you're listening to the music, go back and watch GOOD DANCERS of all styles. Dani Boustrous and Amani. Sibel Baris and Tulay Caraca. Alexandra King and Cory Zamora. Carolena and Paulette. Naima Akef and Sohair Zaki... you get the drift. What moves you? Whose musical interpretation do you really DIG? Whose is closer to what you WANT to be dancing? I think that's the best way to figure out what our own eventual styles will become. But it's always a work in progress.