Raqs beledi, or beledi-style dance, is the solo, improvisational, torso-focused dance performed casually by men and women throughout the Arab world but most commonly associated with Egypt. Raqs beledi formed the basis for the development of its theatrical counterpart - raqs sharqi - around the beginning of the twentieth century.
Note that "raqs beledi" can also be used as a general term meaning "folk dance" - cf. "raqs sha'abi."
The first two clips show ordinary people performing the dance. The remaining clips show professional dancers performing raqs beledi in both informal (social) and formal (theatrical) contexts.
Raqs beledi, or beledi-style dance, is the solo, improvisational, torso-focused dance performed casually by men and women throughout the Arab world but most commonly associated with Egypt. Raqs beledi formed the basis for the development of its theatrical counterpart - raqs sharqi - around the beginning of the twentieth century.
Note that "raqs beledi" can also be used as a general term meaning "folk dance" - cf. "raqs sha'abi."
These clips show dancers performing to beledi progressions. The beledi progression is an improvisational music style that is unique to Egypt. It emerged among musicians in early twentieth century Cairo in the context of performances at social celebrations such as weddings. It is music specifically meant for beledi dance.
There are "masculine" and "feminine" forms of the beledi progression, and each form follows a fairly consistent pattern. The masculine form is often known as "tet" and the feminine form as "awadi." In each case, the progression begins with an unmetered taqsim (instrumental improvisation, usually on an accordion) and progresses through a gradual build-up of energy and tempo, often ending with a fast drum solo.
These are some dancers who are representative of the Golden Age of Egyptian Cinema. Egyptian belly dance of this period is characterized by loose, fluid torso movements and floating, graceful traveling movements. There is less isolation of movements in the torso and greater emphasis on footwork. Time period approximately 1930s through 1950s.
These are some dancers who are representative of the Golden Age of Egyptian Belly Dance. Egyptian belly dance of this period is characterized by more isolation of movements in the torso and less emphasis on footwork than among previous dancers (i.e. somewhat more beledi-style dancing). Time period approximately 1960s through 1980s.
These are some dancers whose style is representative of the transition from the Golden Age style of dancers such as Fifi Abdo and Sohair Zaki to the Modern Egyptian style of dancers such as Dina and Randa Kamel.
These are some dancers who are representative of Modern Egyptian Style Belly Dance. This style of Egyptian belly dance is characterized by tiny, intricate movements and accents of the torso and pelvis as well as dynamic turns and transitions. This style is strongly influenced by the theatrical folkloric styles of the Egyptian national dance troupes (Reda Troupe and Furqa Qawmiyya). Time period approximately 1990s through the present.
Furqa Reda and Al Furqa Al Qawmiyya Lil Funun Ash-Sha'abiya are the two famous national folkloric dance troupes of Egypt. Both troupes performed stylized, theatrical versions of traditional Egyptian folk dances (vs. "pure" folk dance) as well as dance tableaux depicting Egyptian people and their traditions. The stylistic influence of these troupes is evident in both contemporary raqs sharqi and current theatrical representations of Egyptian folk dance.
The ghawazee (singular, ghaziyeh) are a class of female dancers from Egypt. The ghawazee generally come from families of entertainers, wherein the women dance and the men provide musical accompaniment. Many ghawazee are ethnically distinct from the majority population around them, and some self-identify as "gypsies" (or dom). The ghawazee are often hired to provide entertainment at village celebrations such as mawalid (singular, moulid).
The Banat Mazin ("daughters of Mazin") are a well-known group of ghawazee from Luxor. Their dance is hip-focused, with minimal footwork and extensive use of sagat (finger cymbals). Their traditional costume includes a fringed skirt, an underbust vest, and a crown, which they refer to as a taj. This traditional costuming style is nicely illustrated in the first and second clips. In recent years, the Banat Mazin have shifted to wearing a fringed galabeya.
The final clip includes some art and historical photographs derived from the 1889 World's Fair in Paris (and I believe some from the 1893 World's Fair in Chicago). Look at the costuming of the dancers (starting around 4:10) and note the remarkable similarity with the traditional costume of the Banat Mazin. This certainly suggests that the Banat Mazin and other ghawazee represent an indigenous Egyptian dance form with tremendous longevity.
Debke is a social dance performed in a line and characterized by its energetic style and rhythmic stomps. Debke originates in the Levant, the region encompassing modern-day Lebanon, Palestine, Jordan, and Syria. Debke steps and style vary a great deal from culture to culture within this region.
The Arabic word khaleegy means from the Gulf. There are many dance styles originating in the Persian Gulf, but most Westerners use khaleegy to refer to a women's dance style characterized by a shuffling gait, subtle shoulder shimmies, head slides, and vigorous tossing of the hair. The style of this dance varies a great deal from culture to culture within the Gulf.
These clips illustrate examples of a variety of male dance styles from throughout the Middle East (primarily the Arab Middle East). Some of the clips feature non-professional dancers enjoying dance in a social setting, while others feature professional dancers.
1. Palestinian debke (non-professionals);
2. Palestinian debke (professionals);
3. Persian Gulf dance;
4. Yolah from United Arab Emirates;
5. Tanoura from Egypt;
6. Dance from the Suez Canal region of Egypt;
7. Sa'idi dance from southern Egypt;
8. Nubian dance, also from southern Egypt;
9. Raqs beledi (informal, social belly dance) at a wedding reception (non-professionals);
10. Raqs sharqi (formal, theatrical belly dance) by Egyptian dancer Tito (professional);
Tito is noteworthy as an example of a male professional belly dancer in Egypt. While male professional belly dancers are increasingly common in the West, they remain a rarity in the Arab world. The majority of male professional dancers in the Arab world perform other folkloric dance styles; Tito is a rare exception. Note, however, that it is extremely common for men to belly dance socially, particularly in Egypt.
The Nubians are a linguistically and culturally diverse population hailing from southern Egypt and northern Sudan. The folkloric dance style of the Kunuz Nubians, the Nubian people of southern Egypt, is distinct from that of their Arab neighbors in the region. Nubian music and dance has been greatly influenced by the music and dance traditions of both sub-Saharan Africa and the Persian Gulf.
Tahtib is a men's martial art characterized by stylized combat movements and the use of a long fighting staff. Tahtib originates in As-Said (Upper Egypt).
Raqs assaya means stick dance or cane dance. The practice of dancing with a stick or cane is widespread in the Middle East, but the term raqs assaya usually refers to the Egyptian dance from As-Said (Upper Egypt). Unlike tahtib, raqs assaya is lighthearted and joyful, and strictly for fun and entertainment. Both men and women perform theatrical versions of the dance. Men's versions of raqs assaya often bear stylistic references to tahtib.
Nisaa is a St. Louis-based instructor/performer of Middle Eastern dance and the artistic director of the Madrasat Nisaa student dancers. As an instructor, Nisaa's mission is to foster a greater understanding and appreciation of the complexity, diversity, and beauty of Middle Eastern dance forms. Although specializing in Egyptian raqs sharqi (belly dance), Nisaa also teaches and performs a variety of Middle Eastern folkloric dance forms. For more information, visit Nisaa's web site: www.bellydancewithnisaa.com
Nisaa is a St. Louis-based instructor/performer of Middle Eastern dance and the artistic director of the Madrasat Nisaa student dancers. As an instructor, Nisaa's mission is to foster a greater understanding and appreciation of the complexity, div...
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