COPYRIGHT 2003
I feel it is important to share my knowledge of Middle Eastern dance and navigate students in a direction in which they can make
the most of their talents. If you are without a teacher or feel like something is missing and you are not meeting your potiential for
growth, there are things you can do. Subscribing to a magazine is valuable because it helps you stay current with workshops,
events and other necessary information. I am fortunate that I travel frequently and am able to see a wide variety of dance styles,
performers and trends.
Going on 30 years of dancing, it can be a struggle to change my ways, I get stuck in my habits. Whether you are a student,
performer or teacher, it is important to consciously look at how to improve if you want to continue your personal best. Every so
often I see a performance that truly stimulates me and makes me work at adding new movements and eliminating others. Viewing
others will help you stay motivated and keep your skills growing. Videotape yourself then review your style and critique your
execution of movement and technique. Most beginner performers need to slow down or polish their technique. Often you can’t
see it in the mirror, but you will see areas needing improvement on the videotape.
I have been to many workshops over the years in which the hafla/performance/recital includes students of the hosting teacher.
Their dances are often very similar to their teacher’s. There is nothing wrong with this, most are beginning performers trying out
their wings, but occasionally I see a gifted dancer who is limited by her environment. Often these dancers need to reach out for
other styles that may help them transition into the dancer they are capable of being. Don’t stay stuck in your own neighborhood.
It's up to you to explore new areas of growth potential.
I also come across budding performers who are not aware of the differences between Egyptian, Lebanese and American
bellydance (among other bellydance styles). Many years ago there was a debate in whether there was a difference—yes, there is!
And it helps to know those differences. For instance, Americans often use a veil routine as part of their dance. The veil is rarely
used other than an entrance or exit prop in the Middle East. Americans have also added “belly work”, something you won’t see in
the Middle East, yet some of us lust for these skills and rightfully so because they are very entertaining and American audiences
often expect it.
Americans were unable to travel to Lebanon for many years. As soon as the ban was lifted we began to see the results of the
years missed. Amani made her first U.S. appearence and we began to see a rise in Lebanese performances on video. During that
period of time when Lebanon was off limits, it was still a thriving entertainment spot where oriental dance was alive and well. It is
interesting to see the changes in performance style.
In the past, Lebanese oriental dance took on a style very similar to classical Egyptian, hence the great debate between styles. The
1950’s Egyptian film industry influenced all oriental dance and that trend was carried well into the 80’s. Now the differences
between Lebanon and Egypt are quite noticeable and worth looking at and comparing. Egyptian dancers of today have continued
to carry on the traditional style, but have developed a special focus on emotional elements, beledy, and saiidi, and have added
good technique. Also, there seems to be an age preference in Lebanon, most of the well-known stars are younger than Egypt’s
super stars. Lebanon likes them young, between 18-25 while Egypt tends to not care if the dancer is aging, as long as she dances
well or puts on a great show (Lucie is a good example, she is not considered the best dancer, but she sings, dances, and
entertains spectacularly).
Once you have mastered the basic fundamentals of the dance, it is extremely important to see what else is out there. Start by
comparing the differences between Lebanese, Egyptian and American dancing by viewing videos. You will know which style
appeals to you and can then focus on teachers, workshops, or instructional videos that teach that movements and style. It’s o.k.
to mix styles in America, basically that is how Americans developed their own style, but I am surprised when I meet American
dancers who don’t know the differences, which has prompted this article. If you ever dance for an Egyptian audience—you need
to know what Egyptians expect—they do not like serious changes to their traditional movements.
A basic guide if you are limited in your budget or don’t know where to start would be Amani or Hwayda for Lebanese, Ragia
Hassan or Mona el Said for Egyptian, and Fahtiem or Delilah for American. These are NOT personal recommendations, but merely
suggestions as to where to start your quest in DIFFERENTIATING STYLES. There are many subcategories of American Middle
Eastern dance that I have not included such as Tribal, Folkloric, Gypsy, and of course authentic regional styles such as Turkish,
etc., the suggestions above are a starting point for comparing oriental dance styles.
Each of us has our own style that stems from a combination of sources and influences starting when we began learning the
dance. Make sure you aren’t limiting your capabilities by being stuck there. Try all avenues of achieving growth and investigate all
of the different styles. Explore your potential and be the best you can be.
the most of their talents. If you are without a teacher or feel like something is missing and you are not meeting your potiential for
growth, there are things you can do. Subscribing to a magazine is valuable because it helps you stay current with workshops,
events and other necessary information. I am fortunate that I travel frequently and am able to see a wide variety of dance styles,
performers and trends.
Going on 30 years of dancing, it can be a struggle to change my ways, I get stuck in my habits. Whether you are a student,
performer or teacher, it is important to consciously look at how to improve if you want to continue your personal best. Every so
often I see a performance that truly stimulates me and makes me work at adding new movements and eliminating others. Viewing
others will help you stay motivated and keep your skills growing. Videotape yourself then review your style and critique your
execution of movement and technique. Most beginner performers need to slow down or polish their technique. Often you can’t
see it in the mirror, but you will see areas needing improvement on the videotape.
I have been to many workshops over the years in which the hafla/performance/recital includes students of the hosting teacher.
Their dances are often very similar to their teacher’s. There is nothing wrong with this, most are beginning performers trying out
their wings, but occasionally I see a gifted dancer who is limited by her environment. Often these dancers need to reach out for
other styles that may help them transition into the dancer they are capable of being. Don’t stay stuck in your own neighborhood.
It's up to you to explore new areas of growth potential.
I also come across budding performers who are not aware of the differences between Egyptian, Lebanese and American
bellydance (among other bellydance styles). Many years ago there was a debate in whether there was a difference—yes, there is!
And it helps to know those differences. For instance, Americans often use a veil routine as part of their dance. The veil is rarely
used other than an entrance or exit prop in the Middle East. Americans have also added “belly work”, something you won’t see in
the Middle East, yet some of us lust for these skills and rightfully so because they are very entertaining and American audiences
often expect it.
Americans were unable to travel to Lebanon for many years. As soon as the ban was lifted we began to see the results of the
years missed. Amani made her first U.S. appearence and we began to see a rise in Lebanese performances on video. During that
period of time when Lebanon was off limits, it was still a thriving entertainment spot where oriental dance was alive and well. It is
interesting to see the changes in performance style.
In the past, Lebanese oriental dance took on a style very similar to classical Egyptian, hence the great debate between styles. The
1950’s Egyptian film industry influenced all oriental dance and that trend was carried well into the 80’s. Now the differences
between Lebanon and Egypt are quite noticeable and worth looking at and comparing. Egyptian dancers of today have continued
to carry on the traditional style, but have developed a special focus on emotional elements, beledy, and saiidi, and have added
good technique. Also, there seems to be an age preference in Lebanon, most of the well-known stars are younger than Egypt’s
super stars. Lebanon likes them young, between 18-25 while Egypt tends to not care if the dancer is aging, as long as she dances
well or puts on a great show (Lucie is a good example, she is not considered the best dancer, but she sings, dances, and
entertains spectacularly).
Once you have mastered the basic fundamentals of the dance, it is extremely important to see what else is out there. Start by
comparing the differences between Lebanese, Egyptian and American dancing by viewing videos. You will know which style
appeals to you and can then focus on teachers, workshops, or instructional videos that teach that movements and style. It’s o.k.
to mix styles in America, basically that is how Americans developed their own style, but I am surprised when I meet American
dancers who don’t know the differences, which has prompted this article. If you ever dance for an Egyptian audience—you need
to know what Egyptians expect—they do not like serious changes to their traditional movements.
A basic guide if you are limited in your budget or don’t know where to start would be Amani or Hwayda for Lebanese, Ragia
Hassan or Mona el Said for Egyptian, and Fahtiem or Delilah for American. These are NOT personal recommendations, but merely
suggestions as to where to start your quest in DIFFERENTIATING STYLES. There are many subcategories of American Middle
Eastern dance that I have not included such as Tribal, Folkloric, Gypsy, and of course authentic regional styles such as Turkish,
etc., the suggestions above are a starting point for comparing oriental dance styles.
Each of us has our own style that stems from a combination of sources and influences starting when we began learning the
dance. Make sure you aren’t limiting your capabilities by being stuck there. Try all avenues of achieving growth and investigate all
of the different styles. Explore your potential and be the best you can be.
| Exploring Your Potential by Cheri Berens |