All About Belly Dancing
General
Today there are two forms of Oriental belly dance. The first is called raqs baladi, a social dance performed for fun and celebration by men and women of all ages, usually during festive occasions such as weddings and other social gatherings. The second form, the more theatrical and the more popular in the West today, is called raqs sharqi. Like raqs baladi, raqs sharqi is performed by both male and female dancers. In regions where belly dancing is native, boys and girls learn it informally from an early age by observing and imitating their elders during family/community celebrations and gatherings with friends.
Historically, most of the dances associated with belly dance were performed with the sexes separated; men with men and women with women. Few depictions of mixed dancing exist. This practice ensured that a "good" woman would not be seen dancing by anyone but her husband, her close family, or her female friends. Today, sex segregation is not as strictly practiced in many urban areas, and sometimes both men and women will dance socially among close friends at a mixed function. However, while social dancing at family functions is accepted and even encouraged, there are many people in Middle Eastern societies who regard the performances of professional dancers in revealing costumes for mixed audiences as morally objectionable. Some have even gone so far as to suggest that such performances be banned.
Origins
After the Arrival of Islam, belly dancing was banned due to religious reasons. During the Ummayd and the Abbasid dynasties in Iraq, belly dancing was promoted as a trade by rich people. They used local poor women and, later on, slaves from other parts of the world, especially Persia, India/Pakistan and North Africa and had the local Arab women teach them how to perform the belly dance.
During the time of the Abbasid and the Fatimid dynasties, the Arabs settled in Egypt and passed on the belly dance. Since that time, the Egyptians adopted the dance and it was passed on through generations. Egyptians have been known for having good belly dancers.
There is also some evidence that belly dancing is a reworking of movements traditionally utilized to demonstrate or ease childbirth. There are numerous oral historical references, backed by commentary in The Dancer of Shamahka. This particularly relates to a sub-set of dance movements found in modern raqs sharqi.
Costume
Because the most visible venue for belly dance is nightclubs (as well as video and DVD recordings of popular Egyptian dance celebrities), it is this version, rather than the folk or social versions, that is most popular. The costume now associated with this dance is called bedleh in Arabic (meaning "suit"), and was adopted by dancers in Egypt in the 1930s, eventually spreading to other countries in the region. It owes its creation to the harem fantasy productions of vaudeville, burlesque, and Hollywood during the turn of the last century, rather than to actual authentic Middle Eastern dress. Lebanese Badia Masabni dubbed the godmother of oriental dance, singer, actress, and a night club owner in Cairo is credited with adopting this costume because it was the image that Western tourists came to expect, rather than the native caftan/kaftan - which mostly concealed the contours of the body, with a scarf or belt tied around the hips to highlight the movements. The caftan is still used by performers to cover their costumes when not on stage. One of the major contributions Badia made to oriental dance was lifting it up out of the traditions of chaabi or traditional 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 Masabni's ideas influence how dancers carried their arms and the use of veils. She also influenced dancers to use more space on the stage. The ghawazee and almeh were performing almost entirely on one spot.
Since the 1950s, it has been illegal in Egypt, for belly dancers to perform publicly with their abdomens uncovered. Costumes for Raks Sharki are usually a long, one-piece gown or a two-piece outfit (a decorated bra top and skirt) with a sheer body stocking covering the midsection. In either case, the costumes are usually elaborate and elegant, with rich fabrics lavished with bead work, jewels, and beaded fringe. Beaded belts are usually sewn directly onto the skirt and there are matching accessories such as necklaces, arm and ankle bracelets, earrings, and headpieces. The look for Raks Sharki is glamorous and feminine
Lebanese belly dance costumes are usually elegant nightclub styles, consisting of the typical two-piece belly dance outfit of a decorated bra top and a matching belt (usually beaded) over a skirt. The skirts tend to be sheer and/or are made with less fabric than Egyptian styled outfits, showing more of the dancer's body. Using rich fabrics and jewelry the costumes of Lebanese belly dancers are very glamorous, sexy, flirtatious and elegant. The veil is more widely used and the veil matches the outfit. Unlike Egyptian dancers, Lebanese belly dancers are allowed to uncover their abdomen in public performances and do so. A unique characteristic of Lebanese dance is that the dancers often wear high heels when they dance.
Turkish costumes, especially in the 1970s and 1980s, were notorious for their brevity and sexiness. The costumes are usually the typical decorated bra top and belly dance skirt with belt. However, often the skirts are made with less fabric than the American belly dance or Egyptian belly dance style, and are very brief, showing more of the dancer's body. Beaded belts are most common and there are matching accessories such as necklaces, arm and ankle bracelets, earrings, and headpieces. Sheer fabrics are usually used in the skirt and the costumes often have cutouts on the belts or bra/bodice. Typically, the look in Turkish belly dance costumes is sexy, playful, and flirtatious
American belly dance costuming generally has a glamorous or luxurious style (think Hollywood or couture design). Classic American belly dancers usually wear a two-piece outfit, with a decorated bra top, vest, or blouse on top with a skirt and/or 'harem' pants secured at the hips (with the midriff usually, but not always, uncovered). Fabrics most often used are silks, satins, chiffons, lamés, and fabrics that glitter with sequins, beads, or metallic threads.
The mainstays of costuming for the bedlah style include a fitted top or bra (usually with a fringe of beads or coins), a fitted hip belt (again with a fringe of beads or coins), and a skirt(s) (straight, layered, circular, or paneled). In the western world a "veil" - a 3-1/2 to 4-yard piece of fabric - may also be used to accentuate swirling arm movements throughout an entire dance or part of a dance. Most Egyptian dancers use the veil as an opening prop which they discard within the first few minutes of their routines.
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. Usually belly dance is associated with a cabaret costume. The cabaret costume usually consists of hip belt, bra, skirt and/or harem pants, and one or more veils. Decorative arm coverings, wristbands, headpieces, neckbands, scarves, face veils, jewelry and shoes are optional. Makeup usually is a very important piece of costume. The belly dancer’s belt should be around the dancer’s hips, leaving the waist free to perform moves and belly rolls. The belt may have straight edge, or may be curved or angled and it should have jewels, coins, hanging fringe, or tassels on it to emphasize the movements of the hips. The dancer’s bra usually matches the belt in its decorative details and does not resemble lingerie. The classic harem pants are full, and gathered at the ankle, but could be modified. For cabaret pants are usually worn under skirt, because there could be revealed too much leg during the spins. The skirts are usually circle of different kinds of design and usually voluminous. The classic veil is usually three yards of sheer or featherweight fabric, often with decorative borders. Often to enhance the mystique of the dancer henna body art is often used. Henna is a natural vegetable dye which is prepared as a pate and topically applied to the skin. Usually henna is applied to the hands and feet. When removed after several hours, it it leaves reddish brown stain on the skin. Props are used to spark audience interest and add variety to the performance. Traditionally dancers were also performers, singers and musicians. There is a tradition to wear percussion instruments. Nevertheless today only very high skilled belly dancers use finger cymbals, many dancers rely on musicians to play for them. Some dancers use sticks and canes in their performances. Dancing with a veil which flows beautifully with dance movements adds a touch of elegance to the dance performance. Some dancers use sword for their performance, what can make the dance powerful and dramatic. The candles lights, which can dance with he dancer, add in the performance some mystery and drama. Some dancers use tambourine. This prop is very popular with Gypsy style troupes.
Source: http://en.wikipedia.org/wiki/Belly_dance