About Belly Dance

 A Living Art Form

Like language, music, and culture, Oriental Dance continues to evolve. While each style described in this guide has recognizable characteristics, no single dancer, teacher, or performance represents an entire tradition. Regional influences, historical periods, cultural exchange, and individual artistry have all contributed to the rich diversity of the dance we see today.

The descriptions in this manual are intended to provide a strong foundation for learning while recognizing that dance is a living art form. As you continue your studies, you may encounter different perspectives, terminology, and stylistic interpretations. Rather than viewing these differences as contradictions, consider them opportunities to deepen your understanding of the dance and the cultures that have shaped it.  The history of Oriental Dance is rich, diverse, and continues to be studied by historians, dancers, linguists, and cultural researchers. Because many traditions were passed down through oral teaching rather than written records, some aspects of the dance's early history remain the subject of ongoing research and discussion. This guide reflects widely accepted historical understanding while recognizing that our knowledge continues to evolve. 

Approaching belly dance with curiosity, humility, and respect allows us to honor its history while embracing its continued evolution. In doing so, we become not only better dancers, but also thoughtful stewards of an art form that continues to connect people across cultures and generations.

What is belly dance? 

The answer to this question depends on who you ask and where you believe it is from. The Orient, Middle East, Africa, Greece? This ancient form of dance has many names and shares movements most natural to the body from around the world. But each culture that has embraced its gifts from the beginning of time has created meaningful movements that tell stories about the people who dance them. We invite you to take the time required to learn about belly dance cultures, styling, and interpretation. Provided are a few links that may help get you started on your journey of better understanding.

https://www.casbahdance.org/ 

https://www.bellydance.org/articles/bellydance_history2/ 

http://www.shira.net/about.htm 

http://www.orientaldancer.net/belly-dance-library/about-belly-dance/a-brief-history.php 

https://www.bellydancebysasha.com/belly-dancer-about-sasha/the-belly-dance/ 

https://en.wikipedia.org/wiki/Belly_dance 

https://middleeasterndan https://dance.lovetoknow.com/belly-dancing-history 

 
A personal note from Navah.

What makes this dance so hypnotic and exciting to me is the expressiveness with a powerful focus on isolating different parts of the body. Moving independently in patterns, layering with other isolations in limitless combinations. The dance is known to be rich in improvisation leaving it unpredictable, fun, and surprising. And then there is the shimmy. Who doesn't love well placed shimmy...? The most popular of all movements evoking powerful energy and excitement with its thousands of variations.

Belly Dance is performed for many reasons including entertainment, cultural practices, physical fitness and celebration. Because belly dancing has a variety of origins and purposes it's often individualized for each culture for the simple reason of allowing the dancer to fulfill an undeniable expression for oneself.

What Is In A Name:

There are many names for this art form simply because so many styles and forms of the dance exist throughout many cultures. However, most Americans call this beautiful expression "Belly Dance". Here are a few other common names.  Dance is a living and evolving art form. As cultures grow, interact, and influence one another, so do their dances. Over time, this exchange has given rise to the many beautiful styles commonly grouped under the term belly dance.

• Middle Eastern Dance: Middle Eastern Dance is a broad umbrella term that may include belly dance as well as many social, folkloric, theatrical, and regional dance traditions. Some people prefer this term because it acknowledges the cultural regions most strongly associated with the development of belly dance. However, the term is not perfectly precise. The dances often grouped under “belly dance” have been shaped by many communities across Egypt, Lebanon, Turkey, North Africa, Greece, Armenia, the Balkans, and other neighboring regions. The art form has also continued to evolve through migration, theatrical performance, and cultural exchange.

Today, some dancers and educators also use terms such as Middle Eastern and North African Dance, MENA Dance, West Asian and North African Dance, or WANA Dance. Each term has strengths and limitations, so it is helpful to name the specific style, region, or cultural influence whenever possible.

• Balady or Raks Balady (also spelled Baladi or Beladi): Raqs Baladi (also spelled Balady or Beladi): The Arabic word baladi means "of the country," "native," or "local," referring to something rooted in the traditions of everyday people. Raqs Baladi, meaning "Country Dance" or "Native Dance," developed as an urban Egyptian social dance, evolving from local traditions as rural populations moved into Egypt's growing cities. Characterized by grounded, earthy movement and intimate expression, it is typically improvised and reflects the music, culture, and spirit of everyday life. Raqs Baladi played an important role in the development of Raqs Sharqi, the theatrical dance style that later emerged in Egypt.

• Danse du Ventre:  The French phrase Danse du Ventre ("Dance of the Belly") appeared in Europe before the 1893 Chicago World's Fair. The World's Fair helped popularize the dance in America, where the English translation "Belly Dance" became widely known. During this period, Western fascination with the "Orient" shaped how the dance was marketed and understood. 

• Dance Oriental or Oryantal Dance: It is helpful to understand that the word Oriental may have different meanings depending on the context. Historically, it was a broad European term used to describe lands and cultures east of Europe. Within the dance community, however, Oriental Dance refers to a specific theatrical dance tradition known in Arabic as Raqs Sharqi and in Turkish as Oryantal Dans. The following styles are organized by the regions and cultural traditions that have shaped their development.

Raqs sharqi (also spelled Raks Sharki, Raqs el Sharqi, or Raaks al-Sharqi)

The Arabic term Raqs Sharqi (رقص شرقي) literally translates to "Eastern Dance" or "Dance of the East" It is the traditional name for the theatrical solo dance style that developed in Egypt during the early twentieth century and later spread throughout much of the Middle East.

Raqs Sharqi blends elements of Egyptian social dance, regional folk traditions, and theatrical performance. Today it is recognized internationally as one of the primary styles associated with what is commonly called belly dance. While each country has developed its own distinctive approach, Egyptian Raqs Sharqi remains one of the most influential styles in the world.

Raqs baladi,  The Arabic word baladi means "of the country," "native," or "local," referring to something rooted in the traditions of everyday people. Raqs Baladi developed as an urban Egyptian social dance, evolving from local traditions as rural populations moved into Egypt's growing cities. Characterized by grounded, earthy movement and intimate expression, it is typically improvised and reflects the music, culture, and spirit of everyday life. Raqs Baladi played an important role in the development of Raqs Sharqi, the theatrical dance style that later emerged in Egypt. 

Folk/Folkloric Belly Dance:   For the purposes of this manual, folk dance refers to the social dances practiced within a community, while folkloric dance refers to the preservation and presentation of those traditions through storytelling, education, and theatrical performance. Although these terms are sometimes defined differently by various scholars and organizations, these distinctions are being used in this guide. Folkloric dances that use traditional dance steps that showcase the customs, history, and everyday life of a particular region or community. While folk dance often refers to the social dances practiced by the people themselves, folkloric dance commonly refers to the preservation and presentation of those traditions through story telling performances and education. Passed down through generations, both these styles of dance can often be seen at celebrations, weddings, festivals, and cultural events.

Throughout the Middle East and surrounding regions, many unique folk dance traditions have developed. Some well-known examples include Fallahi from Egypt, Hora from Turkey, Kalamatianos from Greece, Dabke from Lebanon and the Levant, and Al Ardah from Saudi Arabia. Each has its own music, movement vocabulary, costuming, and cultural significance.

Folk dance should not be confused with Raqs Baladi or Raqs Sharqi. While these dance forms share cultural roots and have influenced one another over time, each developed for a different purpose and within a different social setting.

Traditional costumes, music, and props reflect the region from which a dance originates. Depending on the style, dancers may use canes, sticks, scarves, baskets, pottery, swords, or other culturally significant objects.

As students and performers, we have the privilege of learning from many beautiful cultures. When presenting folkloric dances outside of their culture of origin, it is important to approach them with curiosity, humility, and respect. Taking the time to understand the history, music, costuming, and purpose of a dance helps honor the people and traditions from which it came.

Egyptian Style Oriental Dance: Egyptian Style Oriental Dance, or Raqs Sharqi, originated in Egypt and is known for its elegance, musicality, and expressive interpretation. Rather than relying solely on large or highly acrobatic movements, Egyptian dancers often focus on subtlety, emotional connection, and a deep conversation with the music. Their movement is typically grounded, with a relaxed quality that remains connected to the earth even when dancing on relevé.

Throughout much of the twentieth century, floor work was discouraged or largely prohibited in Egyptian nightclub performances through entertainment regulations. As a result, modern Egyptian Style Oriental Dance rarely includes dancing on the floor, although it may occasionally appear in theatrical productions or specialty performances.

Egyptian Oriental Dance reflects the rich musical and cultural traditions of Egypt. It draws inspiration from social dances such as Raqs Baladi, regional folkloric traditions, and Egypt's Golden Era of cinema and orchestral music. Rhythms and movement vocabulary inspired by regional styles, including Saidi, are often incorporated into performances.

One of the most influential pioneers of Egyptian Style Oriental Dance was Samia Gamal, whose artistry helped shape the elegant theatrical style recognized throughout the world today.

Lebanese Style: Lebanese Style Oriental Dance shares many musical traditions and cultural roots with Egyptian Raqs Sharqi while developing its own distinctive character. Known for its energetic stage presence, expansive movement, and expressive musicality, Lebanese dancers often perform with larger traveling patterns, graceful arm work, dynamic hip movements, and fluid torso expression. While many performances remain deeply connected to Arabic music, they may also incorporate influences from Lebanese folk traditions such as Dabke.

Unlike modern Egyptian Oriental Dance, Lebanese Style has continued to include floor work as part of its theatrical performance tradition. Dancers also commonly perform in high heels, adding to the elegant and dramatic presentation that has become a hallmark of Lebanese cabaret style.

One of the most influential figures in the development of modern Lebanese Oriental Dance was Nadia Jamal. Through her innovative choreography and theatrical vision, she helped popularize a more glamorous stage style that blended traditional Middle Eastern dance with elements of Western theatrical movement, leaving a lasting influence on generations of Lebanese performers.

Turkish Style Oriental: This style shares many movement traditions with other Oriental dance styles while developing its own vibrant personality. Known for its dynamic energy, expansive movement, expressive musicality, and athletic stage presence, Turkish dancers often incorporate lively traveling patterns, expressive floor work, and the frequent use of finger cymbals (zills).

Turkish Oriental Dance is deeply influenced by the country's rich musical heritage, regional folk traditions, and the artistry of Turkey's Romani communities, whose contributions have had a lasting impact on the style. Turkish music also features distinctive aksak (uneven) rhythms, such as 9/8, which give many performances their unique character.

Traditional Turkish cabaret costuming is often more revealing than Egyptian styles, typically featuring a beaded bra and belt with a high-slit skirt. Modern Turkish dancers continue to blend traditional influences with contemporary theatrical performance, creating a bold, energetic style that remains popular around the world.

Among the many influential performers of Turkish Oriental Dance, Nejla Ateş helped introduce the style to international audiences during the mid-twentieth century, while Tanyeli became one of the most celebrated modern Turkish Oriental dancers, inspiring generations with her powerful technique, expressive musicality, and captivating stage presence.

 Golden Era of Oriental Dance The term Golden Era is commonly used to describe two influential periods in the history of Oriental Dance. The first is Egypt's Golden Era, generally recognized as the flourishing period of Egyptian cinema, music, and dance from the 1930s through the 1960s. During this time, Cairo became the artistic center of the Arab world, and legendary dancers such as Samia Gamal, Taheyya Kariokka, and Naima Akef helped define the elegance, musicality, and artistry of Egyptian Raqs Sharqi. They were followed by another generation of celebrated performers, including Sohair Zaki, Nagwa Fouad, Fifi Abdo, and Mona El Said.

Many dancers in the United States also refer to the 1960s through the 1980s as America's Golden Era of Belly Dance. During this period, the dance flourished in restaurants, nightclubs, festivals, and cultural events across the United States. Influenced by dancers and musicians from Egypt, Lebanon, Turkey, Greece, Armenia, and other Middle Eastern and Mediterranean communities, American dancers developed a vibrant performance style that blended traditions from many cultures. This era laid the foundation for what is now known as American Cabaret and helped introduce Oriental Dance to a wider Western audience.

Today, dancers around the world continue to draw inspiration from both of these remarkable periods while contributing to the ongoing evolution of the art form.s commonly used to describe two important periods in the history of Oriental Dance.

The first is Egypts, generally recognized as the flourishing period of Egyptian cinema, music, and dance from the 1930s through the 1960s. During this time, Cairo became the artistic center of the Arab world, and legendary dancers such as Samia Gamal, Taheyya Kariokka, and Naima Akef helped define the elegance, musicality, and artistry of Egyptian Raqs Sharqi. They were followed by another generation of celebrated performers, including Sohair Zaki, Nagwa Fouad, Fifi Abdo, and Mona El Said.

The second is often referred to as 

American Cabarnet: Developed during the 1960s and 1970s through the rich cultural exchange found in cities such as Los Angeles, San Francisco, Chicago, and New York. Immigrants from Egypt, Lebanon, Turkey, Greece, Armenia, and many other Middle Eastern and Mediterranean communities brought their music, dance, and traditions to the United States. American dancers learned from these communities while developing a performance style uniquely their own.

Known for its energetic stage presence, expressive use of space, finger cymbals, veil work, and improvisation to live music, American Cabaret blended influences from many cultures while honoring its Middle Eastern roots. Restaurants, festivals, community classes, and cultural events helped introduce thousands of people to the dance, creating a vibrant belly dance community that continues to grow today.

American dancers have contributed to the global evolution of Oriental Dance through teaching, choreography, theatrical productions, festivals, recordings, and ongoing cultural exchange with artists throughout the Middle East and around the world.

Contemporary American Oriental Dance:  This synthesized belly dance evolved from many cultures and resonated within women as deeply as their very DNA. This dance intrinsically belongs to every woman, so it easily transcends all borders. "Carolyn Anderson ". It continues the tradition of blending and exploring movement while remaining rooted in the vocabulary of Oriental Dance. Many dancers study Egyptian, Lebanese, Turkish, and other Middle Eastern styles, then combine those influences with training in ballet, jazz, modern, flamenco, Latin dance, hip hop, yoga, and other movement arts. Large theatrical productions, storytelling, and creative interpretations have also become popular. Notable artists and productions include Bellydance Evolution, and Tamalyn Dallal, all of whom have helped shape the modern American belly dance landscape.

American Classic Style Belly Dance: Often using influance from the Golden era. American Cabaret developed during the 1960s and 1970s through the rich cultural exchange found in cities such as Los Angeles, San Francisco, Chicago, and New York. Immigrants from Egypt, Lebanon, Turkey, Greece, Armenia, and many other Middle Eastern and Mediterranean communities brought their music, dance, and traditions to the United States. American dancers learned from these communities while developing a performance style uniquely their own. Known for its energetic stage presence, expressive use of space, finger cymbals, veil work, and improvisation to live music, American Cabaret blended influences from many cultures while honoring its Middle Eastern roots. Restaurants, festivals, community classes, and cultural events helped introduce thousands of people to the dance, creating a vibrant belly dance community that continues to grow today.

American Tribal Style Belly Dance: Today many dancers no longer use the word tribal.

Find a nice article on the subject here: https://www.windsofthemoon.com/changing-names-why-will-no-longer-consider-ourselves-to-be-a-tribal-fusion-troupe/

 Belly Dance FCBD® Style:

Formerly known as American Tribal Style® (ATS®), this style is now commonly called FCBD® Style, reflecting the name adopted by FatChanceBellyDance®. The change recognizes the evolution of the dance and the desire of many dancers to move away from the use of the word tribal.

FCBD® Style was created by Carolena Nericcio and inspired by the pioneering work of Jamila Salimpour and her troupe, Bal Anat. Drawing from Egyptian, Turkish, Lebanese, North African, and other Middle Eastern dance traditions, along with artistic influences from flamenco and Indian dance, Carolena developed a unique format centered on group improvisation rather than choreography.

One of Carolena's greatest contributions was the creation of a codified movement vocabulary and cueing system that allows trained dancers to improvise together in synchronized formations—even if they have never danced together before. Through subtle visual cues, dancers communicate seamlessly while preserving the spontaneity of improvisation. This innovative dance language became the defining feature of FCBD® Style and helped it grow into a worldwide movement.

Recognizable for its richly layered costuming, FCBD® Style draws inspiration from India, Turkey, Afghanistan, North Africa, and other regions. Choli tops, turbans, silver jewelry, tassels, and layered textiles create a distinctive aesthetic that complements the dance's strong posture and earthy movement quality.

Although inspired by many cultural traditions, FCBD® Style is an American-created dance format rather than a traditional Middle Eastern dance style. Its influence has inspired numerous improvisational and fusion styles, with artists such as Kajira Djoumahna and Paulette Rees-Denis helping expand the collaborative spirit that continues to shape the dance today.
 

Fusion Belly Dance: A contemporary style that blends the movement vocabulary of Middle Eastern Dance with influences from other dance forms and movement practices. Depending on the artist, these influences may include FCBD® Style, ballet, modern dance, contemporary dance, flamenco, hip hop, popping, yoga, martial arts, Indian dance, and many others. Rather than following one set of rules, Fusion Belly Dance encourages creativity while maintaining a connection to the techniques and aesthetics of Oriental Dance. Each artist develops a unique style by thoughtfully combining traditions to create new forms of expression.

One of the most influential branches of Fusion Belly Dance is Tribal Fusion, which grew from FCBD® Style and was popularized by dancers such as Rachel Brice. Tribal Fusion is recognized for its precise technique, fluid isolations, layered movements, and theatrical presentation. Because Fusion Belly Dance embraces artistic exploration, many themed and hybrid styles have emerged over the years. Some of these include Gothic Belly Dance, Fantasy Belly Dance, Goddess Belly Dance, Flamenco Fusion, Contemporary Fusion, and countless other creative interpretations. While these styles vary in movement, music, costuming, and presentation, they continue to share roots in the movement vocabulary of Oriental Dance.

Today, Fusion Belly Dance continues to evolve as dancers around the world explore new ways to honor tradition while expressing their own artistic voice.
 

Credits:

 The information presented in this website is based on a combination of scholarly research, historical publications, cultural heritage resources, and educational materials from respected historians, ethnologists, musicians, and dance educators specializing in Middle Eastern and North African dance traditions. 

• Anthony Shay — Belly Dance: Orientalism, Transnationalism & Harem Fantasy 
• Anthony Shay — Choreographic Politics 
• Karin van Nieuwkerk — A Trade Like Any Other 
• A.J. Racy — Making Music in the Arab World 
• Aisha Ali — Dances of Egypt 
• UNESCO Intangible Cultural Heritage 
• Morocco (Carolina Varga Dinicu) 
• Shareen El Safy 
• FatChanceBellyDance® (for FCBD® terminology only)