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| Belly Dance Info |
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* ORIGINS OF BELLYDANCE:
In Arabic, this dance is called Raks Sharqi, meaning "Oriental Dance". Bellydance was later translated from “Danse du Ventre”, which was used to describe tribal dances of matriarchal Berbers in Algeria called the Oulid Nail. Bellydance is not the only dance done by women in the Middle East. There are regional folkloric dances which also emphasize hip and abdominal movements. However, bellydancing is the most popular well known international dance.The dance was done with many layers of colorful clothing, belted at the waist. No skin showed. The dancers bounced layers of skirts by tilting their pelvises violently.
There is an old tradition mostely never seen of young men performing belydance wearing long,unrevealing robes with a scarf tied around the hips. They danced in coffee houses, strictly for men, who were excluded from womens gatherings. To this day, Middle Eastern men exhibit a fascination for the dance, and for participating in this ancient womens art.
RESTRICTIONS OF THE MIDDLE EAST:
Today in many Middle East countries, this dance is forbidden to be performed by women. In the 50s, bellydance was declared illegal in Egypt. After a popular uprising ensued, the government repealed the ban with one condition -- THAT DANCERS NO LONGER SHOW THEIR STOMACHS. (That law still remains in effect.)
WHY THEY STOP BELLYDANCE?:
"The anti-bellydancing sentiment and reactionary religious extremism was beginning when I visited Cairo. The bellydance shows were not decadent in any way, but the dancers had such charisma and strength that the audience was compelled to silence by the lift of a dancers arm driven to frenzy by a dancers union with the drumbeats. I think the Arab men are afraid of the tremendous power in the hands of women when they perform this dance."
(Dalal, Proffesional MiddleEastern dancer).
* BELLYDANCE AND CHILDBIRTH:
Bellydancing is used as a way of celebrating womans femininity, as it helps women gain confidence in their bodies. Bellydance exercises are also used in natural childbirth classes, and a recent survey done by Mideastern Dancer Magazine reports that women who bellydanced delivered their first child with shorter periods of labor. Bellydance acts as an aid to exercise as the sweat and gentle nature of the hip movements help one to stay fit. Women who bellydance are having a lot of fun and feel young at heart!.
* Upcoming Events::
June 11 & 12, 2005 Virginia teaches and performs in Salt Lake City, Utah. Sponsored by Thia Kapos. Contact: Thia (801) 266-0473 / thiak@earthlink.net June18 & 19, 2005 Virginia teaches and performs in Berlin, Germany with Amir Thaleb. Sponsored by Beata & Horacio Cifuentes. Contact: 030 - 893 55 66 / tanzstcifuentes@aol.com
July 15, 2005 Virginia Wa Nour Al Ayun her professional performing company present their fifth annual production in the theatre, “Amal Hayati” an anthology of this womans work. A ten year retrospective of work set for the theatre and stage. Featuring a cast of 20 dancers. Contact: Virginia (305) 558-5743 / comednce@bellsouth.net SUNDAY JULY 3RD 1st Seminary of Great Masters.Sarat, Maiada, Amir Thaleb, Saida Mario Kirlis y su orquesta.Salon Unione e Benevolenza - Juan D. Perón 1362 Buenos Aires - Capital.Info and reservations:www.institutoaladin.com.ar - aladin@datamarkets.co Egyptian Odyssey An Egyptian Dance & Percussion Workshop by Hossam & Serena Ramzy “The true art of Oriental Dancing,is to : Visually Hear the Music” COLOMBIA from Tuesday 2nd untill the 22nd of August 2 0 0 5 Contact Information Espacio Oriental-Sandra Merchan Sierra espaciooriental@excite.com Av. 19 # 131 A- 30 apt 1002 | Bogotá, Colombia Phone (571) 627 46 06 Mobile 315 817 2303 SEMINAR IN MEXICO: May 21 and 22, workshop by Saida and Mario Kirlis in México Df. Info: Maria Shazadi mariashazadi@yahoo.com.mx Sunday July 3 Seminar in Aladin. With Saida and Mario Kirlis, accompanied by Daniel Shadrawy,classes will be given by: Amir, Maiada y Sarat. Registration 9,30 to 10,30. Salón Unione e Benevolenza, Juan D. Perón 1362 (entre Uruguay y Talcahuano. Info: 011-4217-4616 / aladin@datamarkets.com.ar.
* FAMOUS BELLY DANCERS:
Badia Masabni
Badiaa Masabni (CHAPTER 1), the godmother of oriental dance, was born in Lebanon, at that time still part of Syria. She moved to Egypt early twentieth century where she earned a good living as a actress-dancer. Some years later in Cairo - at that time the center of the entertainment industry in the Middle East - she opened the first Egyptian music hall in 1926. Badia named her cabaret the "Opera Casino" (that was the official name) but it was also known as "Badias Casino" or "Madame Badias Cabaret". The nightclub offered a variety of entertainment like singing, dancing and occasionally comic acts and magic. Badia modeled it after European cabarets in order to attract both Middle Eastern and European audiences visiting Egypt in bigger and bigger numbers. Her casino started indeed to appeal to a variety of public originating from all over the world. But it was more than an ordinary cabaret, it was Caïros popular social headquarter frequented by "le beau monde". Besides that it offered special shows only open to women making outdoor entertainment for muslim ladies no longer a privilege. Comedians like the Assyrian Naguib al-Rihani had their turn on Badias stage. Rihani alias "Kesh-Kesh Bey" became Badias long-time and only husband.
During the 1940s Gizas celebrated Music Hall - Casino Badia - made world history during world war 2 when officer, swindler and spy intermingled under the comforting "torpedoes" of Badias famed belly dancers. Failing to win her over, Hitlers propaganda machine found it necessary to attack Madame Badia accusing her in turn of being a traitor, a dangerous spy and a British secret agent. It was common knowledge that Churchills son and the Duke of Gloucester had capered in her Casino.One of the mayor contributions she made to oriental dance was lifting it up out of the traditions of chaabi or popular dancing. Where before the belly dancer had a limited repertoire of arm movements she got the idea not only holding them out to the sides, but lifting them higher above the head and using more flowing gestures later known as snake arms. Not only did Badia Masabnis ideas influence how dancers carried their arms but equally how to use more space on the stage. The ghawazee and almeh were performing almost entirely on one spot. Now the dancers were required to use the entire stage which was bigger than that what they were used to. Traditional dancers mostly improvised but Badia Masabni pioneered the use of choreography. As the public in the back couldnt quite see the fine movements, props like the veil were incorporated in the dance show. Perhaps she was inspired by one of Isadora Duncans (1877-1927) shows in Paris.A veil scored more effect upon a distance audience. In fact the use of veils and a two-piece sequined costume were inspired by Hollywood film productions as many of the movie posters in this museum prove..
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