Thread: The Essence of Belly Dance: IT IS vs IT IS NOT

Some debates that have recently occurred elsewhere on the net made me think it could be interesting to explore this question:

What is the essence of belly dance?

Is it just a movement vocabulary? Or is it more than just a movement vocabulary? If it is more, can we define what we mean by that?

I personally think it is more than a movement vocabulary. I think a useful way to look at the essence is to use sentences that begin with "It is..." and "It is not..."

Here are some of mine - I'd love to hear yours:

IT IS

• Rooted in the culture of the Middle East
• "Yin" energy
• Expressive of emotions
• Controlling the release of energy, never letting it all fly loose at once

IT IS NOT

• Severed from the Middle East to leave no remaining traces of Middle Eastern culture
• Openly aggressive
• "Yang" energy
• Letting energy blast out of all pores

That's interesting, I like that way of looking at the essence of belly dance, Shira.

This would be Aisha Azar-led discussion?

I am very antsy about the concept "essence" of course, but I do agree that there are certain qualities that, if missing, make belly dance not belly dance. Connection to ME/Arabic culture or representations of it is key, and I also agree that it is generally emotionally expressive. The emotionality is held and expressed predominantly in the torso, for me. While I don't agree that energy can't "blast", because I've seen phenomenal ME dancers who are highly charismatic and demanding performers, I do agree that there is some reserve, in that the energy is held internally to some degree and the dance is as pleasurable for the dancer as it is for the audience. Physically pleasurable to do.

I don't see the "essence" as "feminine" at all, but that's because I see femininity as a) culturally constructed when wearing my academic hat, and therefore a meaningless term, and b) very much about what sex your body is when I'm forgetting to be academic. I could never understand how a biological woman would be called "not feminine" and so to me, it's feminine if you're female and masculine if you're male, end of story. But I do feel that the essence/energy/focus is largely on being inviting rather than being repellent.

One of the key issues we deal with is the rise in neo-orientalist dance - by which I mean dance that hearkens back to early 20th century orientalist fantasy, particularly the more darkly erotic aspects - alongside a rise in interest in dance as it occurs *now* in real ME countries and performed by and for real ME people. The latter is obviously belly dancing by my standards. The former sort of is, too, because it mostly hasn't lost the representational aspects, though at the same time it is representative of certain Western fantasies that were once attached to the east(and probably still are on some level). But some of it definitely isn't.

Originally Posted by zumarrad

I don't see the "essence" as "feminine" at all, but that's because I see femininity as a) culturally constructed when wearing my academic hat, and therefore a meaningless term, and b) very much about what sex your body is when I'm forgetting to be academic. I could never understand how a biological woman would be called "not feminine" and so to me, it's feminine if you're female and masculine if you're male, end of story. But I do feel that the essence/energy/focus is largely on being inviting rather than being repellent.

Very well put!

Not so much energy blasting out, but to me energy passing through and resonating out. Like the body is a resonance chamber for the music and the emotional contents carried with it.

Souzan

Originally Posted by zumarrad

I don't see the "essence" as "feminine" at all, but that's because I see femininity as a) culturally constructed when wearing my academic hat, and therefore a meaningless term, and b) very much about what sex your body is when I'm forgetting to be academic. I could never understand how a biological woman would be called "not feminine" and so to me, it's feminine if you're female and masculine if you're male, end of story. But I do feel that the essence/energy/focus is largely on being inviting rather than being repellent.

Perhaps the "essence" is "feminine" in the sense that it is "soft," "vulnerable," "emotional," "delicate," "coy," "flirty," and/or other adjectives that are typically not recognized as desirable masculine qualities in most societies. Men can certainly possess those traits, but public displays of them often result in the perception of diminished "masculinity." I don't want to sidetrack things with a discussion about male dancers and "masculine" vs. "feminine" energy, but much of what has been said in those threads is relevant to Shira's original "essence" thoughts, at least insofar as it can be culturally inauthentic and distracting to the audience when a dancer presents too much of the opposing gender's "energy."

I think this is a great set of guidelines, but I think there are always going to be exceptions and thus I feel like we shouldn't get too obsessive about making these our boundaries.
As soon as I read the list I thought of Artemis Mourat. Not that she is out-of-control by any stretch of the imagination, but her energy is VERY high and I would absolutely not classify her as a "yin energy" kind of dancer. Still, I would defy anyone here to tell me she is not a "traditional bellydancer" or that her dance doesn't have the "essence" of bellydance!
I'm not so much taking exception with what you've come up with, Shira- I just don't want these kinds of definitions to nail us down too much.
I'm no expert, but in the end I feel like bellydance the way the US Supreme Court feels about pornography- "I know it when I see it."

Originally Posted by Tourbeau

Perhaps the "essence" is "feminine" in the sense that it is "soft," "vulnerable," "emotional," "delicate," "coy," "flirty," and/or other adjectives that are typically not recognized as desirable masculine qualities in most societies. Men can certainly possess those traits, but public displays of them often result in the perception of diminished "masculinity." I don't want to sidetrack things with a discussion about male dancers and "masculine" vs. "feminine" energy, but much of what has been said in those threads is relevant to Shira's original "essence" thoughts, at least insofar as it can be culturally inauthentic and distracting to the audience when a dancer presents too much of the opposing gender's "energy."

However, ATS is considered very much bellydance, and I don't see it having any of those qualities.

Except for the Middle Eastern roots thing, how many of those qualities apply to other dance forms? And how many of those qualities must be contained in a dance to consider it bellydance?

Originally Posted by indigostars

However, ATS is considered very much bellydance, and I don't see it having any of those qualities.

Except for the Middle Eastern roots thing, how many of those qualities apply to other dance forms? And how many of those qualities must be contained in a dance to consider it bellydance?

Many people don't consider ATS to be bellydance. I do, but I'm quite biased.
I also think that ATS is a display of femininity in its own way. It might not be flirty, but it's a dance about community and-dare I say- sisterhood.

I agree with every single thing Zumarrad said. I don't believe this dance to be 'feminine essenced' either, and never have. Men have danced it for a long time, and the cultural constructs we have about what is 'masculine' and what is 'feminine' change from culture to culture.

Hmmm... I think of Egyptian dance as mostly Yin energy, but if there were never any Yang for contrast it would be quite boring. Turkish and Lebanese are mostly Yang in my opinon.

Otherwise I agree with Shira's points. I'll have to think about what I'd add to each list.

all the above!

Originally Posted by zumarrad

I don't see the "essence" as "feminine" at all.

You'll notice that I intentionally avoided the term "feminine essence" because the interpretation of the word "feminine" is a very culture-centric construct.

I find it more useful to think in terms of yin and yang, because that concept incorporates the idea that both genders contain both qualities, and in order for a person to be healthy these qualities need to be in balance.

But there's nothing 'yang' about Randa, or Mona's gold bikini drum solo, or Didem.

(lol - seeing this post over 2 years later, realized I meant to say there's nothing 'yin' about Randa, or Mona's gold bikini drum solo, or Didem)

Originally Posted by Lauren_

But there's nothing 'yang' about Randa, or Mona's gold bikini drum solo, or Didem.

I disagree.

When I think "yang", I think of the hiphop attitude.

Tachnically, listening to music is a yin activity (receiving). The minute you start moving, you're moving into yang territory (acting). Dancing for an audience is quite yang in nature, being an audience would be yin..

I understand that people aren't terribly familiar with these terms and want to use them as substitutes for what we usually call 'internal energy' vs. 'external energy' or 'feminine' vs. 'masculine' but I'm not happy with seeing them redefined altogether.

ETA for clarity -- by definition, movement is an expression of yang energy. Activity is a characteristic of yang energy.

Of course both yin and yang are present in everything, because yin and yang are a way of expressing the duality of wholeness.

Bringing two very shallowly understood (or misunderstood) terms into the discussion doesn't seem likely to bring much clarity to the word 'bellydance.'

Originally Posted by Lauren_

I understand that people aren't terribly familiar with these terms and want to use them as substitutes for what we usually call 'internal energy' vs. 'external energy' or 'feminine' vs. 'masculine' but I'm not happy with seeing them redefined altogether.

Bringing two very shallowly understood (or misunderstood) terms into the discussion doesn't seem likely to bring much clarity to the word 'bellydance.'

So, since you're shooting down other people's attempts to describe it, perhaps you could offer us you own IS and IS NOT ideas?

Originally Posted by *Shira*

I disagree.

When I think "yang", I think of the hiphop attitude.

I have to admit that I have no idea about what the real differences are between yin and yang, so please explain how the "hip-hop attitude" is evidence of yang energy.

Originally Posted by MakedaMaysa

I have to admit that I have no idea about what the real differences are between yin and yang, so please explain how the "hip-hop attitude" is evidence of yang energy.

Okay, forget the word "yang".

I'm saying that the aggressive, in-your-face attitude that you often see in hiphop is not an attitude that would appear in the essence of belly dance.

Originally Posted by *Shira*

So, since you're shooting down other people's attempts to describe it, perhaps you could offer us you own IS and IS NOT ideas?

I'm not shooting down anyone's attempts, as I said I agree with most of your description.

As I said, I'm mulling it over and I will post my own ideas when I have them more fully formed in my mind.

I saw Randa on the Nile maxim boat and her energy blew us all out of the room.She's a powerhouse.it struck me how that venue was way way too small for her.

I think I get what Shira is saying about the energy and the hiphop contrast. Shira, feel free to tell me I've got this ALL wrong. ;) But here's my take.

Maybe "energy" isn't exactly the right word. Even when belly dance is performed by someone like Randa who is a powerhouse, it has a subtlety to it. There's something still hidden, still mysterious. It's not that the performance is lacking energy. To me, hiphop is very "put it all out on the table." No holds barred, it is what it is, like it or not. BD, by comparison, is almost like the Mona Lisa--there's something below the surface. The audience sees just the tip of this something, they know there's more and it creates the kind of beautiful tension that leaves them wanting more. It's not necessarily always coy or flirty, but it is elegantly restrained.

Originally Posted by GenevieveOfAtlanta

I think I get what Shira is saying about the energy and the hiphop contrast. Shira, feel free to tell me I've got this ALL wrong. ;) But here's my take.

Maybe "energy" isn't exactly the right word. Even when belly dance is performed by someone like Randa who is a powerhouse, it has a subtlety to it. There's something still hidden, still mysterious. It's not that the performance is lacking energy. To me, hiphop is very "put it all out on the table." No holds barred, it is what it is, like it or not. BD, by comparison, is almost like the Mona Lisa--there's something below the surface. The audience sees just the tip of this something, they know there's more and it creates the kind of beautiful tension that leaves them wanting more. It's not necessarily always coy or flirty, but it is elegantly restrained.

Very nice description, Genevieve. Thanks.

Hmm, maybe the yin and yang terminology is confusing people. Hospitable (as in "inviting, including") vs. Aggressive (as in "hostile, threatening")? Does that work any better for people? A female can be aggressive and a man can be hospitable. Even though hospitable is a funny word to describe a dance, it fits for me because I see the essence of belly dance as a joyous sharing of music and of life. For me, some connection to its roots in the social dance of the Middle East is necessary. That connection is expressed in the dancer's choice of music as well as her attitude in performance. You can be explosive like Artemis or Randa and still be belly dancing. But if you are attempting to express the darker aspects of life, like diseases or sexual fetishes or post-modern angst, for example, you are not in traditional belly dance land any more.

I think the attempt to define the essence is for our own enlightenment more than it is an attempt to nail anything down or put anyone into a too-confining box.

Hi all,
I wrote this a couple months ago as a mental exercise to clarify my thoughts and understanding after several conversations of trying to describe a typical belly dance performance to people who have never seen it. Thought it might be of some interest in this discussion. It covers some of what has been said already…… but thought I would put it out there as a whole. Apologies for the length! I didn’t use the term Middle Eastern to describe the dance, but told them it originates from Mediterranean/ME dances. Also, I didn’t write it to be inclusive of the tribal variations…..which to me is unique enough I would use a seperate description.

“Several times recently I have been asked to describe belly dance. These are the four qualities I kept coming up with in my description of what would pass for standard belly dance as I understand it.

1- A unique torso centric movement vocabulary, where the extremities are often/usually playing a supporting or secondary role. The movement technique is detailed, precise, and is NOT the same as any other dance form with torso movements. The individual core movements are generally coordinated into contained and controlled movement phrases or sentence. Movements often have a natural look and flow to them, maybe better described by lack of stiffness, rigidity, or tension (also makes it LOOK easy). The dance has a limited amount of large and athletic movements requiring large amounts of space.

2- Strong movement to music connection. The music is not just a background for the movements but an integral partner. Essential and particularly unique (as far as I know), to belly dance that the movements strongly follow, reflect, and interpret the music. At least compared to the other dances I have studied, belly dance definitely follows the music in the most detail.

3- Strong emotional presence which relates to music. There is a real humanity and positive nature to the emotional range generally found in belly dance; love, loss, joy, sorrow, teasing, fun, yearning, strength, perseverance, pride, flirtation, sensuality. One emotion in particular seems to be essential to belly dance: Joy. It seems to be the dominate emotion with numerous variations into which we pepper in other emotions. One song or a couple maybe, but I can’t imagine an entire set or belly dancer without it.

4- Strong connection to the audience. You feed them and they return. Even in stage shows, dancers only intermittently withdraw that connection and I can’t say I have ever seen the “fourth wall”. You see the audience, interact with them, and even change your dancing to accommodate them. In a lot other dance forms this is not a two way street.”

my 4 cents. thoughts? disagreements? flames?
Meredith

This is BRILLIANT! I would, however, want to include the Middle Eastern origins/cultural context in the description. But I LOVE what you've written here!

Originally Posted by Meredith

Hi all,
I wrote this a couple months ago as a mental exercise to clarify my thoughts and understanding after several conversations of trying to describe a typical belly dance performance to people who have never seen it. Thought it might be of some interest in this discussion. It covers some of what has been said already…… but thought I would put it out there as a whole. Apologies for the length! I didn’t use the term Middle Eastern to describe the dance, but told them it originates from Mediterranean/ME dances. Also, I didn’t write it to be inclusive of the tribal variations…..which to me is unique enough I would use a seperate description.

“Several times recently I have been asked to describe belly dance. These are the four qualities I kept coming up with in my description of what would pass for standard belly dance as I understand it.

1- A unique torso centric movement vocabulary, where the extremities are often/usually playing a supporting or secondary role. The movement technique is detailed, precise, and is NOT the same as any other dance form with torso movements. The individual core movements are generally coordinated into contained and controlled movement phrases or sentence. Movements often have a natural look and flow to them, maybe better described by lack of stiffness, rigidity, or tension (also makes it LOOK easy). The dance has a limited amount of large and athletic movements requiring large amounts of space.

2- Strong movement to music connection. The music is not just a background for the movements but an integral partner. Essential and particularly unique (as far as I know), to belly dance that the movements strongly follow, reflect, and interpret the music. At least compared to the other dances I have studied, belly dance definitely follows the music in the most detail.

3- Strong emotional presence which relates to music. There is a real humanity and positive nature to the emotional range generally found in belly dance; love, loss, joy, sorrow, teasing, fun, yearning, strength, perseverance, pride, flirtation, sensuality. One emotion in particular seems to be essential to belly dance: Joy. It seems to be the dominate emotion with numerous variations into which we pepper in other emotions. One song or a couple maybe, but I can’t imagine an entire set or belly dancer without it.

4- Strong connection to the audience. You feed them and they return. Even in stage shows, dancers only intermittently withdraw that connection and I can’t say I have ever seen the “fourth wall”. You see the audience, interact with them, and even change your dancing to accommodate them. In a lot other dance forms this is not a two way street.”

my 4 cents. thoughts? disagreements? flames?
Meredith

Originally Posted by GenevieveOfAtlanta

Shira, feel free to tell me I've got this ALL wrong. ;) But here's my take.

Maybe "energy" isn't exactly the right word. Even when belly dance is performed by someone like Randa who is a powerhouse, it has a subtlety to it. There's something still hidden, still mysterious. It's not that the performance is lacking energy. To me, hiphop is very "put it all out on the table." No holds barred, it is what it is, like it or not. BD, by comparison, is almost like the Mona Lisa--there's something below the surface. The audience sees just the tip of this something, they know there's more and it creates the kind of beautiful tension that leaves them wanting more. It's not necessarily always coy or flirty, but it is elegantly restrained.

Thanks - yes, that's what I was driving at.

Love what Meredith wrote!

Originally Posted by Candi

I saw Randa on the Nile maxim boat and her energy blew us all out of the room.She's a powerhouse.it struck me how that venue was way way too small for her.

Yup. My observation about Randa though is that you should feel tired after watching her, because she's so massive energetically, but instead I found that when her numbers would end I'd be "huh? No, that was too short! Come back!" when she had danced a solid set. I found her invigorating to watch. The thing is though that she is not aggressive - she seems happy that you are there watching her dance. I like the idea of "hospitable" as opposed to aggressive. "Hospitable" can include dance styles like tribal (ie ATS) which, when good IMO, is not necessarily all "hey come up here and dance with me" but has a sort of "we are having fun together, if you were with us you'd be having fun too" feeling that is not unpleasantly exclusive on stage. When I see nice social tribal I see a bunch of mostly women enjoying themselves and each other, and get the feeling that they would welcome a new friend. Even the "aloofness" is not aggressive. It's not "coy" (a word I hate with every fibre of my being and refuse to use to describe any dancer) but then neither are lots of ME dancers, and indeed Arab women. Similarly, not all ME BD is melting, soft stuff. That's the kind I like but Lebanese and Turkish dancers are quite different, as has been pointed out. Belly dance can be assertive and often is but it's not aggressive.

Now that I think of it, being sexual without a sense of humour about it is also aggressive behaviour.

Shira, I wasn't referring to your quote directly when I talked about "feminine essence" but rather thinking aloud about similar discussions I've seen elsewhere, where that phrase is used a lot.

Originally Posted by BreaMorgiane

I agree with every single thing Zumarrad said. I don't believe this dance to be 'feminine essenced' either, and never have. Men have danced it for a long time, and the cultural constructs we have about what is 'masculine' and what is 'feminine' change from culture to culture.

Yes. But see, a person who might argue that BD is feminine essenced will also argue a very narrow definition of BD which is, essentially, raqs sharqi and raqs sharqi only, and more specifically, Golden Age and early classical era raqs sharqi (if I've got that person's argument right.) So by that definition they will say "yes men can dance but they have to do it with a feminine essence otherwise it's WRONG, and as for all that dancing that men have done for centuries, well it's baladi and so not the same thing."

Whereas, I think for *most* BDers in the non-ME world, "belly dance" incorporates a much wider range than purely old school raqs sharqi. We often include folk dances of the ME and North Africa in our study and if the dance involves torso work/shimmies, we will usually identify that as BD too. Beledi is BD to me, most definitely. American Cabaret is BD. ATS is definitely a kind of BD too - some new tribal and tribal fusion, not so much.