raqs sharqi

by Jerome Espinosa Baladad

Created on: November 08, 2010   Last Updated: November 10, 2010

Literally, raqs sharqi translates to “oriental dance” - which in itself is something of a misnomer. There is really nothing oriental in belly dancing except that it was most probably fashioned by impresarios to provide entertainment to influential and powerful people (as well as the regular folks) who would gather in public places, to include coffeehouses, restaurants, cabarets and the theatre. Its early origins have been based on the collective romantic notions of Westerners who were observed to have always planned to subjugate people then living in the Middle East Region and certain parts of Africa starting 18th century. In the process, these Westerners were shown by the natives with what they saw as “genuinely local dances” which were improvised to provide for entertainment.

Raqs sharqi has provided for fulfilling the fantasy of individuals on what they thought was “Oriental” or something that depicts what is different from their own culture. As such they took great lengths to complete the fantasy with costumes and adornments to be worn by dancers. Raqs sharqi is mostly performed to please the eyes of foreigners.  These visitors, who normally would have no opportunities to get invited in the festive gatherings of the locals, would seek out “belly dancers” and would be ready to pay some small amounts to those who are willing and able to perform. This is where the entertainment factor comes into the picture. They also inspired Western authors to write books describing "belly dancing."  They have since then inspired a host of movies and captured the imagination of those outside of the culture where “belly dancing” originated.

“Belly dancing,” the more traditional form of which is known as raqs baladi (or “folk dancing”) takes place during festive and ceremonial gatherings of the natives. Dancers include men, women and children of all ages. However, variations of the dance are observed, depending on the location where the festivities take place. Also religious fervor comes into play in certain localities, especially among devout Muslims. As such, women and men have separate spaces where they can celebrate during these festivities. This may mean, on many occasions, “male belly dancers” for gatherings of the men and “female belly dancers” for those of the women-folk.

Movements done during raqs baladi (also spelled “beledi” by some writers) have since then been modified and improvised to accommodate developments in the social milieu where its dancers live. Its popular and decidedly more entertaining form, the “raqs sharqi,” is the style that is more “theatrical.” This means inclusion of props used by the dancers. They include fire sticks, cymbals, veil, swords, fans, canes, snakes, among others, to fan the imagination of the spectator. However, both styles follow the rhythm and progression of the accompanying music.

Raqs sharqi continues to evolve to contemporary demands and creativity of its dancers and choreographers. It’s the form most recognizable to people outside the spheres of the Middle East, Egypt and Turkey nowadays. Its dancers continue to introduce new ways of dancing raqs sharqi with other genres like ballet and pop.  As such, we can only imagine how raqs sharqi will become more entertaining and mainstream in the years to come.

Sources:

Wikipedia's Belly Dance

Oriental Dance: It Isn't Just for Women (and Never Was) by Tarik Sultan

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