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Bellydance Classes
| Day | Teacher | Location | Time |
| Mondays: | Stacey Lizette teaches Open-Level Bellydance | Tapestry Dance Studio | 7:30 - 8:30pm |
| Tuesdays: | Stacey Lizette teaches Introduction to Bellydance | Nia Space | 6:00 - 6:50pm |
| Stacey Lizette teaches Beginner Bellydance | Nia Space | 7:00 - 8:00pm |
| Stacey Lizette teaches Advanced Bellydance | Nia Space | 8:15 - 9:30pm |
| Maribel teaches Beginner Bellydance | Khabele School | 6:30 - 7:30pm |
| Thursdays: | Lily teaches Tribal Fusion Bellydance | Cafe Dance | 7:45 - 8:45pm |
Bellydance Myths
Bellydancing did not originate in the harem. Traditionally in the Middle East, women dance for other women and not men. They dance with their female friends, sisters, aunts, mothers, and cousins to celebrate happy family occasions such as weddings. Even today in some parts of the Middle East, the men still celebrate separately from the women... (read more >>)
Costuming
At her absolute best, a dancer is a visual expression of music and an open vessel of emotion ranging from the dramatic gamut of a deep love lost to the celebration of joyful love found. These signs are clear from the expression in her eyes and the personality of her dance movement. But there is an additional tasteful component of expression that represents a dancer's style: the Costume... (read more >>)
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BELLYDANCE MYTHS
Bellydancing originated when harem girls danced for the Sultan.
Bellydancing did not originate in the harem. Traditionally in the Middle East, women dance for other women and not men. They dance with their female friends, sisters, aunts, mothers, and cousins to celebrate happy family occasions such as weddings. Even today in some parts of the Middle East, the men still celebrate separately from the women.
This is not to say that there was no dancing in the harem. Quite the opposite, the harem women danced for each other's own entertainment and exercise.
To improve her position in a large harem or to get the Sultan's attention, a harem girl's best bet was to gain the good graces of the Sultan's mother or first wife. These were the women who had the most power and who often decided which young women to introduce to the Sultan.
Belly dancers dance mostly with their bellies and must have a lot of “jiggle” to dance well.
Belly dance embraces women of all shapes and sizes; belly size makes no difference. In fact, if any part of the body in this dance form gets the most focus, it is the hips! To dance well, however, a good
bellydancer dances with her entire body and is a visual and emotional expression of the music.
Bellydancing
is easy.
Just like any other dance form, bellydancing takes a lot of practice, patience, and discipline to learn. It is an art form and, to become an expert, a dancer must learn
intricate Middle Eastern rhythms as well as become an expert in one or more styles of dance. A few of the more popular styles include the classical
styling of Egyptian Raks Sharki, the fast-paced Turkish style, the earthy folkloric styles of the Middle East, the floor and veil emphasis of American Cabaret, and the troupe improvisation of American Tribal. Depending on the dance style, a professional sometimes accompanies her dance and the music with zills (finger cymbals), a cane, a sword, a veil, a flaming candelabra or other props. All in all, it can be very complex and difficult.
A good bellydancer can
roll quarters on her stomach.
Rolling quarters has been done by bellydancers from time to time, mostly in an attempt to please tourists who have come to expect shtick. The ability to roll quarters, however, is not a common practice nor is it taught as part of most dancers' education. The only dancer we have seen rolling quarters did so only because of her years of Yoga practice, not because she was a
bellydancer.
Dancers who show their stomachs are bellydancers.
Popular American culture often fuses various cultures together to create interesting imagery and misconceptions. Because of this, many people may not be able to tell the difference between Hula, Polynesian, Gypsy, and Indian dancing all of which often have costumes which bare the dancer's stomach, but none of which are considered
bellydancing. Hula and Indian dancers use their hands to tell a story. Indian dancers use their hands, eyes, and feet. Polynesian dancers shimmy a lot, but they do not perform many other moves that are essential to Middle-Eastern dance. The dances performed by Gypsy tribes have much more in common with the folk dances of Eastern Europe than with dances of the Middle East. The European dance that is probably most related to
bellydance is flamenco, which developed from Middle Eastern dance when the Moors ruled Spain.
Belly dancers wear a jewel in their navel.
Navel jewels are not a Middle Eastern tradition but started in Hollywood during the 1930's to comply with censorship laws
that considered the bellybutton too
risqué for the silver screen. There has been a revival of the naval jewel with the recent popularity of pierced bellybuttons. Traditional
bellydancers almost never wear jewels in their navels unless they are doing a comedy act where the jewel is supposed to be part of the joke or a specialty act that is intentionally trying to mimic the look of old Hollywood movies.
Belly dancers are strippers or strippers are bellydancers.
When a stripper wears a bellydance costume in her routine, she is no more a
bellydancer than she is a law officer when she wears a police uniform or a nurse when she wears a nurse outfit. There are occasions where strippers also know other dance forms such as
bellydancing or ballet, but they are entirely different disciplines and should never be mistaken.
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COSTUME
HISTORY
At her absolute best, a dancer is a visual expression of music and an open vessel of emotion ranging from the dramatic gamut of a deep love lost to the celebration of joyful love found. These signs are clear from the expression in her eyes and the personality of her dance movement. But there is an additional tasteful component of expression that represents a dancer's style: the Costume.
Historically, various belly dance styles have their own costume. The most common ones found on stages today are Egyptian, Turkish, American Cabaret and American Tribal.
Classical Egyptian Raks Sharki costumes are typically the most theatrically elaborate with jewels, sequins, and fancy trims. The costumes worn by Egyptian dancers on the silver screen in the 1930's and 1940's consisted of bejeweled bras, belts that had a slight U shape in the back, and flowing chiffon circle skirts. During that era, the navel was covered by fringe or jewels to meet the cinema censorship code. Even today, Egyptian law requires dancers to cover their stomach, and many dancers meet this requirement by wearing a mesh body stocking. Recently, there has been a trend in Egyptian costumes towards minimalism, with vibrant colored lycra replacing traditional chiffon skirts and striking decorations using little or no fringe. Leading the way in these daring costume changes is Dina, an Egyptian dancer well-known for wearing tight lycra costumes.
Turkish costumes differ from Egyptian costumes most significantly by the longer fringe decoration and the V shaped belt. Turkish costumes typically use less rhinestones and jewels than Egyptian costumes. The Turkish dance style is much faster and flamboyant than the graceful and refined Egyptian dance style. With the many leaps, drops and rhythmic accents in Turkish dance, the longer fringe flies!
American Cabaret grew in popularity in the 1970's, predominately in California. This style of dance is typified by a lot of veil, zill, and floor work. During this
time, Egyptian costumes weren't as easily available in America as they are today through established vendors and the Internet. As a result, dancers often made their own costumes. They looked to posters, paintings, books, and festivals such as Bal Anat for inspiration.
American Tribal costuming stemmed, in part, from a movement away from the glitzy two piece costumes of Egyptian, Turkish, and American Cabaret. In its most basic form, Tribal costuming is typified by elaborate antique silver jewelry from Afghanistan and surrounding
countries, face markings, black harem pants worn under a colorful thread skirt or panel and either an Indian choli or coin bra and belt. In its early stages, Tribal dancers wore turbans; the style has since evolved to elaborate hair accessories, including flowers, yarn-locks, and head bands.
Egyptian Folkloric costumes are for the more traditional Middle Eastern dances represented by a typical beledi beat and larger, earthy movements. These dances
include the Malayalef, Saidi, Kheligi, Gawazi, Falahi, Dubke, and Shamadan
to name a few. Dancers wear costuming such as galabayas, or long caftans, with slits over one or both legs. Sometimes, dancers wear head scarves and occasionally dance with a cane or basket.
In Egyptian Folkloric dance, male and female dancers occasionally dance
together.
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