Sawjja - Tribal Belly Dance

Tribal Cabaret

Belly Dance has always been seen as Middle Eastern entertainment. Over the centuries, has always adapted and changed to fit the expectations of its audiences. There were many dancers who made their living from the coins thrown to them. It was a form of income for the gypsy dancers who originated it, the Arab cabaret dancers who transformed it, and for the American dancers who adopted it. American tribal has its roots in the gypsy dances of the Middle East.

Tribal

Some of my personal favorites of American Tribal Style performed today are from Carolena Nerrichio's Fat Chance Belly Dance, Gypsy Caravan , Belly Groove and Kafif.

The sensual roots of tribal belly dance began with the gypsy dancers of North Africa and Spain. Credit is also given to Ghawazee of Egypt, Ouled Nail of Algeria and the fireside dancing of all of the Berber tribes. Berbers have lived in Africa since the earliest recorded time. References date back to 3000 BC. There are many scattered tribes of Berber across Morocco, Algeria, Tunisia, Libya, and Egypt. Forty percent of the Moroccan population is Berber, 30% live in Algeria, and 1% in Tunisia. There are smaller numbers of Berbers in Mauritania, Mali, and Niger. They tend to live in desert regions like the Sahara and in the Atlas Mountains. They live there because the Arabs conquered North Africa in the 7th century AD, and pushed the Berbers out. The number of Berbers in North Africa has slowly declined because more and more Berbers are adopting the language and culture of the Arabs.

The gypsy dancers were introduced to the United States in 1893 at the Great Columbia Exposition in Chicago. The stir that these dancers created spawned into burlesque shows and inspired a whole new Hollywood genre of the vamp. Arabic dancers were attracted to this glamour and wanted to emulate Western ideals. Therefore, they adopted the Hollywood version as their own. Thus, traditional modern Egyptian cabaret belly dance is an American construct that was modified by Arabs for their own artistic and economic needs.
Jamila Salimpour is known as the originator of American Tribal Style Belly dance. Her dance group, Bal-Anat, paved the way for others to use a fusion of the various regional dances of the Middle East and North Africa as inspiration for their own version of belly dance. Masha Archer, a former student of Jamila, added more uniformity to the new style by not distinguishing between the regions and simply identifying it as belly dance.

Belly dance has many different names and many different styles from various regions. Here in the United States, the most popular style performed is the traditional Egyptian cabaret style known as Raks al Sharki or Oriental Dance. However, a new style has emerged, especially on the west coast, American Tribal Style Belly dance. It is an ethnic fusion style, influenced by Middle Eastern dance but inspired by American artistic sensibilities. It has nothing to do with representing a particular tribe, but it combines movement vocabularies and regional costuming to form one cohesive presentation. The "American" part of the label acknowledges that the dancers are continents away from the culture that created the dance form and are taking artistic license with it. Yet, they still must acknowledge, respect and honor the roots:

The look of American Tribal Style seems authentic because of its resemblance to various gypsy tribes throughout North Africa, the Middle East, and India. Often, Arabs comment that the style reminds them of 'home'.
Belly dance has origins in ancient fertility cults and assisting child birth at a time when religion was an integral part of daily life and had relevance to every aspect of human existence.
However, the female pelvic dance died out in many parts of the world, but remained in areas such as the Middle East and North Africa.
It then progressed from a religious sphere into the realm of spectacle and entertainment by a new class of professional dancers. The acceptability of dance in the Middle East has been entwined with women's role in society. No well bred Egyptian woman would ever consider dancing in public. Dance as a social past time in the confines of the home was acceptable for women only to entertain each other. Professional dance was the domain of the lower classes as it was limited to "gypsies, minority communities and the poorer members of society."
These dancers were distrusted for their rebellious ways, yet they were welcomed into the homes of the upper classes to animate family festivities. Gypsies have always assimilated local customs and traditions and made them their own. They polished and amplified the local dance and music in order to use them as a means of livelihood. Therefore, when the French found the dance in North Africa in 1798 during Napoleon's invasion, the gypsy dancers soon discovered that the French soldiers were a new and bountiful source of revenue. They adapted their repertoire to entice more income.
The French saw the Ouled Nail of Algeria and the Ghawazee of Egypt and generically named their gypsy dances danse du ventre, dance of the stomach. The direct English translation of belly dance became adopted by Westerners although there are various names given to the dances of the distinct regions. The European foreigners were the first to document the Ghawazee and the Ouled Nail. The native elite and educated did not feel that the dance was respectable nor important enough to record. Naturally, the dancers became an obsession for many Western travelers because of the supposed forbidden sensuality the dancers represented. Hugs Sawjja

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Cabaret

To most, belly dancing conjures up a picture of an elaborately costumed Middle Eastern woman, with midriff exposed, dancing a very sensual dance. While this form of belly dancing exists, common misconceptions must be dispelled. Belly dancing is not limited to women, and is not simply one form and type of dance. Belly dancing is popular in much of the Middle East and parts of Africa, and costume and allowable moves vary greatly.

The moves in belly dancing vary in different countries. However, virtually all belly dancing involves isolated movements of muscle groups. Naturally, the abdomen movement is most famous, however, isolation of arms and legs may also be employed. Dances can be elaborately choreographed or freeform.

Most familiar belly dancing is the Turkish form, which predates eastern religion. Women in harems were certainly taught to belly dance, but men might learn as well. In Turkey, costume and movements are not restricted. Influence may have come from Gypsy culture, as well as from the Greek dance, Tsifteteli. The dancer also uses finger cymbals, or zils, to keep time with the music. Shoes are often high heels, and costuming tends to be quite skimpy.

Turkish belly dancing was welcomed in the US by the 1930s. It is often called Cabaret belly dancing by dancers today. Those who perform this dance might perform in nightclubs or restaurants.

Most familiar belly dancing is the Turkish form, which predates many religions. Women in harems were certainly taught to belly dance, but men might learn as well. In Turkey, costume and movements are not restricted. Influence may have come from Gypsy culture, as well as from the Greek dance Tsifteteli. The dancer also uses finger cymbals, or zils, to keep time with the music. Shoes are often high heels, and costuming tends to be quite skimpy.

Turkish belly dancing was welcomed in the US by the 1930s. It is often called Cabaret belly dancing by dancers today. Those who perform this dance might perform in nightclubs or restaurants.

In Egypt, belly dancing is an ancient art form, depicted in some hieroglyphics. Unlike the Turkish form, modern Egyptian belly dancing calls for more modest costuming. Certain moves, such as gyrations of the pelvis, are not allowed, as they are considered inappropriate.

Both Egyptian and Turkish belly dance celebrate the mature woman, one whose physique differs significantly from the Western style of beauty. A little extra size or a bit of a belly is considered advantageous. Maturity is also thought to lend greater expression to the dance. Complexity and ease of expression are thought to arise from a woman who is experienced.

Egyptian belly dancing generally separates the sexes to promote decency. Women may perform for each other, singly or in groups. A professional belly dancer may perform for men, but most women do not perform the dance for any other than close family.

The sensuality of the dance is opposed to Interpretations of a woman’s role in Middle eastern society, especially among those taking a Fundamentalist view. Some countries have banned or severely restricted the art form. In Palestine, there is some indication that belly dancing may be banned altogether.

Initially, male belly dancing may have been performed by eunuchs, dressed effeminately, in Turkish harems. Often, male dancing was not considered as important or as interesting as the dances performed by women. Modern views have changed this perspective, and the male belly dancer is now welcomed almost as much as the female.

Belly dancing in the U.S. is most likely seen in Moroccan restaurants, though often one can hire a belly dancer for special events. U.S. belly dancing is increasing in popularity as a fitness regime. The isolation of muscles can make belly dancing particularly good exercise. Women often feel more comfortable pursuing a dance form that welcomes a few curves, as opposed to dance and exercise forms which preference the very thin.

To appreciate the art of belly dancing, there are several popular dancers who are well worth watching. Neena and Veena Bidasha, the “belly twins,” have appeared on US television shows and have created belly dance videos. Their work inspires some of the dance choreography of Britney Spears and Shakira. Jasmina, who works at the exclusive Le Meridien Heliopolis in Cairo, is considered to be one of the best practitioners of the modern form.

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