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Welcome to bellydance class! If you're taking Lisa's level one class, you'll want to add finger cymbals by the time you start your 5th month of class. Here's what to look for, and how to get three different sounds out of your cymbals.  We've all been there: you made time to practice, got your hip scarf on, and then are standing in front of a mirror wondering what to do. This is by no means the be all, end all of practice methods. Some of the most skilled dancers I know practice by just putting music on, dancing for a song or two, and then spending some time on whatever didn't feel right for them. You don't NEED to have a set structure, but if you find yourself spending more time trying to pick what to practice than actually dancing, this should help.
Articles
Although both "Arabic Classics" and "raqs sharki entrance numbers" use the sound of an orchestra, and many of the classics can be danced to, they are quite different genres. Arabic Classics were the pop music of the 40s, 50s, 60s, and even 70s and 80s. Created by composers like Abdel Wahab and Baligh Hamdi, and brought to life by singers like Om Kalthoom, Abdel Halim Hafez (also a composer), Asmahan, and Warda. Raqs Sharki entrance numbers were composed just for the dancer, usually by the band she employed. We'll learn more about all of these, and the Turkish genre called Arabesk, during levels 2 and 3, when each week includes a "must know song". Articles
There are many ways raqs sharqi can be healing: it brings us back emotionally in touch with our bodies, balances physical muscle imbalances, builds confidence, provides a creative outlet, and creates community. In Egyptian and other MENAHT cultures, there are also dance rituals specifically for psychological healing, one of which is the zaar. Although it is illegal due to it's pagan roots, folks who need that sort of outlet still find a way. Roxanne talks about one ritual she witnessed in this article. Articles
There is a concept in Arabic music called Tarab, which loosely means "the ecstasy of listening" and is a sort of trance like state of just being immersed in, one with, and carried away by the music as you let it move you (physically and emotionally). Articles
I mentioned the more traditional way of teaching this class. Western way of teaching and learning, with a very codified way of doing things is not traditional to how raqs sharki (Eastern dance, AKA bellydance) was learned. For centuries, professional dancers were from families of entertainers and so they learned from a very young age. I try to combine how Americans are comfortable learning with more traditional teaching styles, to prepare you to really appreciate how many native dancers prefer to teach. This article from Leila (an American who had a successful career in Cairo for many years) talks about how important it is to be able to learn in this way. Articles
I promised short articles each week to give the dance some context. This week: a little on the history of bellydance, and the difficulties of reconstructing the past of a folk dance. This article is a bit about how hard it is to pin down the exact origins of raqs sharqi. Lots of myths have been created to try and explain the history, but it is likely that, in spite of more research into the early 20th century being published in English, we won't ever have firm answers for the first origins. If you've been dancing for a little while, and have some movements you feel comfortable doing, it's time to start making your own dances!
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AuthorLisa Lumina is the primary author of student readings. Guest authors are indicated on their posts. Archives
May 2025
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