The History And Culture Of Bellydance
Much evidence can be pointed at to show the existence of dance in Ancient Egypt, with many aspects of it resembling the dance as we know it today.
In Pharonic times around 5000BC there were tomb paintings showing female dancers and musicians. The first evidence of dance was found in the tomb of Neb Amon (18th Dynasty) which was uncovered at Thebes. Some aspects of the dance were in celebration and some as entertainment. There were also wall paintings of dancers in the old Neolithic shrines of Catal Huyuk in Turkey in 6000 BC.
Dance was also related to the worship of fertility goddesses such as Hathor in Egypt, Ishtar in Babylon and Aphrodite in Greece. The dance was linked to fertility and sometimes performed during childbirth. Even today if there is a belly dancer performing at a wedding she quite often has her picture taken with both the bride and groom putting their hands on her belly as a symbol of fertility.
Ancient writers record movements which identify with Egyptian dance as we know it today, such as moving the hips, circles, swaying and shaking of the body. Images like 'The Banquet' on the tomb of Netumun dated 1400BC illustrated the development of choreography and music in Egyptian culture.
Further to this evidence of dance in the Ancient Egyptian times, much proof also exists of dance during the Roman Empire. In 30BC the Roman writer and poet Martial says that dancers from the Nile were sent to Rome and in 60BC the Romans imported dancers from Syria into Rome. Papyrus confirms the existence of a group of dancers in Egypt in 206AD.
In 527AD the Empress Theodora (wife of Byzantine), a celebrated oriental dancer and actress enacted laws to protect women's rights. The new Byzantine converts were used to dance being a central part of worship and so the church included it into its Christian rituals. Records of this dance, although not written about was found on sculptures.
Salome danced for King Herod - he was so taken with her that he offered her up to half of his kingdom in return - she asked for the head of John the Baptist.
641AD was a very significant time for Egypt, with the year seeing the advent of the Domain of Islam, when Egypt renounced all western influences; this was followed by what is known as 'The Golden Age of Islam'. During this time the arts began to flourish, along with mathematics, astrology, astronomy and medicine, and Cairo became the main cultural capital.
During the Ottoman rule in the reign of Haroun al Rashid, the dance evolved greatly. The almeh/awalim (the learned women) were held in very high regard both artistically and morally. These female intellectuals were the only people allowed to go into the harem without requiring permission in order to teach and advise the ladies in the harem how to dance. They also taught them tasteful conduct, graceful demeanour and fine manners. The learned women were able to sing, recite poetry, play musical instruments and dance, even at mixed gatherings, thus they were held in high regard for their artistic and moral standards. The awalim left Cairo during Napoleon's occupation as they refused to entertain his soldiers.
Equally as important, although not so well regarded, were the ghawazee (meaning invaders or outsiders). They sang, told jokes and interacted with the audience but were often linked to prostitution. The ghawazee did a side to side shimmy to a very fast 4/4 beat. Any coins thrown at them were stitched into a bodice, belt or head covering which they wore when they danced, which has developed into the hipscarf as we know it today. They wore heavier, more complicated outfits which did not allow as much freedom of movement.
During the 19th century 400 ghawazee were captured and beheaded before having their bodies bundled into sacks and thrown into the Nile. They fraternised with the French and Napoleons generals blamed them for creating unrest and causing great disturbance. They were told to keep away from the barracks or they would be severely punished. When they did not do this they were banished from Cairo by Mohammed Ali in 1934 and sent then to Esna, Aswan and Kena. Female impersonators called Essne Khawals took their place. Any women who defied the ban were liable to 50 lashes for a first offence and hard labour for any further infringement.
The travellers to cairo would make their way 500 miles down the nile to esna and aswan to see these infamous ghawazee dancers whose fame preceeded them. One of the most well known of these dancers was called Kutchuk Hanem.
When the ghawazee lived in Cairo they contributed over 1/10th of all taxes collected in Cairo. When they were banished taxes were increased. They returned in 1866 when the ban was lifted.
The orientalists, a group of artists, writers and explorers who visited the Middle East during the 18th and 19th century, depicted the dancers they saw on their travels, with two of them being Flaubert and Nerval. The images they brought back depicted fantasies of the dance and portrayed images of nudity and eroticism. They told tales of opulent harems and dancing girls. These blatant images of sensuality were instrumental in colouring the hungry western minds with exotic and curious delight.
Another event which held further significance in the development the dance was the World Trade Fairs. The World Trade Fairs brought the dance to the public's attention and the name belly dance was borne. In 1893 Sol Bloom brought the 'The Streets of Cairo' exhibit to the Chicago World Trade Fairs. The dance displayed at the world trade fair was that of the ghawazee.
The public there are entranced by a dancer at the World Trade Fair called La Belle Fatima, otherwise known as 'Little Egypt', although her dancing enraged the censors. Little Egypt danced in much less revealing costumes that those worn today but Sol knew that belly dance would scandalize, interest, and ultimately increase business. Little Egypt is said to have saved the fair from financial ruin although we do not know if this is entirely true. There is conflicting evidence as to whether there was actually a single identifiable person called Little Egypt, or whether it was just a generic term used. One of the dancers was named Fahreda Mahzar (born in Syria). Tickets to see her perform cost between 20-75 cents, as opposed to a 25 cent flat rate to watch her rivals dance. She went on to marry a Greek restaurant owner and continued performing. She died of a heart attack in 1937. It was said that as part of her act she lay down on the floor, placed 2 partially filled glasses on her stomach and made them clink together in time to the music! Sometimes she balanced a candle stick on her head. Whatever the truth of the matter Little Egypt inspired a host of imitators who introduced the dance into burlesque shows. These 'Little Egypt's' presented an even bolder version of belly dancing!
When the French first saw the dance they called it 'danse de ventre' - dance of the stomach. The Americans translated it to belly dance. In Greece belly dance is called Cifte telli (also the name of the Turkish rhythm), and in Turkey it is called Rakkase. In the Middle East it is often called danse orientale.
Discoveries in Egypt had a profound effect on the West in the 20th century, with dancers trying to emulate the eastern style and make it artistic.
Many writers and artists of the west were inspired by what was happening in the east. Among them was feminist Ruth St Denis (1879-1968). She was born in Newark, New Jersey and became a pioneer of modern dance in America and Europe. As well as being a dancer she was also a poet and she wrote the poem 'I dance the eternal ecstasy of being'. Her recitals were inspired by the art and religion of Egypt, Turkey, India and Asia.
Oscar Wilde wrote a one act play called Salome, which opened in 1903 with Salome being played by Sarah Bernhart. The interest in eastern mysteries was heightened by the discovery of Tutenkhamuns tomb in 1922. Also in 1922, American born Josephine Baker brought to the stage a chorus girl style of dance.
The first Egyptian Cabaret was casino Badia, or 'Opera Casino' (the official name), and was opened in Cairo in 1925 by Badia Masabni, a dancer and actress born in 1892 in the Lebanon (which at that time was still part of Syria). This held great importance for the development of the dance, as it is where oriental style dancing evolved.
The casino stood where the Cairo Sheraton stands today and gained such notoriety that they named the bridge beside it 'Kubri Badia'.
At one time Samia Gamal and Tahia Carioca both danced there along with a highly trained troupe of dancers. Although Badia did not dance at this time she would always be seen on stage in full costume, playing finger cymbals. The dancers would come forward one at a time to do a solo turn.
Raks baladi was previously performed stationary and in small spaces. For the first time oriental dance was performed on a stage and Badia adapted the dance to utilize stage space and refined the movements to include not only hipwork but also chest and arm movements, bringing to life oriental dance. These oriental dancers had a varied repertoire, graceful arm movements and performed to oriental music with classical middle eastern instruments.
The Casino Badia was instrumental in bringing oriental dance to a wider audience offering 3 performances a day with a 6.00pm performance for ladies only. Every 15 days there was a new show which was choreographed for the first time. The troupe was trained by American choreographer Isaac Dickson.
Another major change at this time was costuming. Up until this time dancers wore a long dress with a scarf accentuating their hips. The beaded two piece bedlah made its appearance due to influences of Hollywood movies and European cabarets. Props were also introduced.
The casino started to fade after the revolution in 1952 when places like this were destroyed. It has been said that Churchill's son and the Duke of Gloucester both frequented the casino.
The Golden Age of Cinema bought into the public eye some amazing talent in singing, composing and dancing, with some of these talents being Tahia Karioka, Samia Gamal, Naema Akef, Farid el Atrache, Modammed Abdul Wahed, and Om Koulsoum.
