ITP: THE ART OF DANCE PART 5: METAL BELLY DANCING

Here is more of our ITP feature THE ART OF DANCE PART 4: METAL BELLY DANCING and also an interesting taste of brutality with NYC METAL BALLET DEVAIRE, featuring ANDY CARPENTER (SUNY NEW PALTZ ALUMNI). BALLET DEVAIRE has performed LIVE with ARSIS, OPETH and many credibility extreme metal bands.. (First BELLY DANCER ALICIA OF BELLY CRAFT, SECOND VIDEO SOHHI GOTHIC BELLY DANCER THIRD VIDEO UKKRAFT BELLY DANCER THYRFING, FOURTH VIDEO IMPROV METAL BELLY DANCING ZAYDA, ALSO A VIDEO ABOUT BALLET DEVAIRE ):
BELLY DANCE FROM WIKEPEDIA:
Belly dance is a Western term for a traditional Arab dance genre known as raqs sharqi (Arabic: رقص شرقي‎; literally "oriental dance") or sometimes raqs baladi (Arabic: رقص بلدي‎; literally "dance of country", and so "folk" dance). It is also sometimes called "Middle Eastern Dance" or the "Arabic Dance" in the United States, "danse du ventre"^[1], or by the Turkish term Çiftetelli (τσιφτετέλι).
Native to the Middle East, and now popular worldwide, belly dance takes many different regional forms, both in costume and dance style, indicating that distinctive dance moves may have been transported to these regions and incorporated with local dance styles.
Today there are many forms of belly dance. Some, such as American Tribal belly dance, are clearly modern evolutions of the traditional forms. However, due to the ancient origins of belly dancing, the authenticity of even "traditional" or "classical" forms of the genre are open to question and often hotly disputed.
There are two basic divisions within "traditional" belly dance. The first, raqs baladi, is a social dance performed for fun and celebration by men and women of all ages in some Middle Eastern countries, usually during festive occasions such as weddings. People learn the steps informally from an early age by imitating their elders during family/community gatherings.^{[citation needed]}.
The second form, which has become popular in the West, is called raqs sharqi. This is more commonly performed by female dancers but is also sometimes danced by men.

[edit] Origins

Artistic depiction of belly dancing

As with any dance of folkloric origin, the roots of belly dance are uncertain.
One theory claims that belly dancing was originally from Ancient Babylon in southern Iraq.^{[citation needed]} Adnanite Arabs introduced belly dancing and drumming. Before the arrival of Islam the tradition was for women to dance at social gatherings, while the men played the drums.^{[citation needed]} After the Arrival of Islam, belly dancing was banned. During the Ummayad and the Abbasid dynasties, belly dancing was commercially promoted. Local poor women and, later on, slaves from other parts of the world, especially Persia, India/Pakistan and North Africa learned to belly dance to entertain rich men.
During the time of the Abbasid and the Fatimid dynasties, the Arabs settled in Egypt. Egyptians adopted the dance and it became part of Egyptian tradition.
Another theory is that belly dancing is a reworking of movements traditionally utilized to demonstrate or ease childbirth, and was used by women for that purpose. There are numerous oral historical references, backed by commentary in The Dancer of Shamahka. This particularly relates to a sub-set of dance movements found in modern raqs sharqi.[1].

[edit] Costume

In the West, the costume most associated with belly dance is called bedleh (Arabic for "suit"). It owes its creation to the Victorian painters of "Orientalism" and the harem fantasy productions of vaudeville, burlesque, and Hollywood during the turn of the last century, rather than to authentic Middle Eastern dress.
The bedleh style includes a fitted top or bra (usually with a fringe of beads or coins), a fitted hip belt (again with a fringe of beads or coins), and a skirt or harem pants. The bra and belt may be richly decorated with beads, sequins, braid and embroidery. The belt may be a separate piece, or sewn into a skirt.
The hip belt is a broad piece of fabric worn low on the hips. It may have straight edge, or may be curved or angled. The bra usually matches the belt and does not resemble lingerie. The classic harem pants are full and gathered at the ankle, but there are many modifications. Sometimes pants and a sheer skirt are worn together. Skirts may be flowing creations made of multiple layers of sheer fabric such as chiffon, or figure-hugging lycra.
Badia Masabni, a Cairo nightclub owner, is credited with bringing the costume to Egypt, because it was the image that Western tourists wanted.
Since the 1950s, it has been illegal in Egypt for belly dancers to perform publicly with their abdomens uncovered ^[2] or to display excessive skin. It is therefore becoming more common to perform in a long, figure-hugging lycra one-piece gown with strategically placed cut-outs filled in with sheer, flesh-coloured fabric.
If a separate bra and skirt are worn, a belt is rarely used and any embellishment is embroidered directly on the tight, sleek lycra skirt. A sheer body stocking must be worn to cover the midsection. Egyptian dancers traditionally dance in bare feet, but these days often wear shoes and even high heels.
As there is no prohibition on showing the stomach in Lebanon, the bedleh style is more common. The skirts tend to be sheer and/or skimpier than Egyptian outfits, showing more of the dancer's body. The veil is more widely used and the veil matches the outfit. High heels are commonly worn.
Turkish dancers also wear bedleh style costumes. In the 80s and 90s the art became debased in Turkey and a 'stripperesque' costume style developed, with skirts designed to display both legs up to the hip, and plunging bras. Such styles still exist in some venues but there are also many serious, respectable Turkish belly dancers who wear more moderate costumes. Even so, all Turkish belly dance costumes reflect the playful, flirty style of Turkish belly dance.
American dancers often purchase their costumes from Egypt or Turkey, but hallmarks of the classical "American" style include a headband with fringe, sheer harem pants or skirt rather than tight lycra, and the use of coins and metalwork to decorate the bra.
In Egypt, America and Europe dancers wear full-beaded dresses for the folkloric and baladi dances. But generally costuming varies with the particular style of dance.
Props are used to spark audience interest and add variety to the performance, although some traditionalists frown on their use. Some props in common usage are:

• Finger cymbals (zills or sagats).
• Cane (in the Saiidi)
• Veil
• Sword
• Candelabra headress
• Veil poi
• Fire sticks
• Tambourine
• Fan

[edit] Steps and Technique

Most of the movements in belly dancing involve isolating different parts of the body (hips, shoulders, stomach etc), which appear similar to the isolations used in jazz ballet, but are often driven differently.
In most belly dance styles, the focus is on the hip and pelvic area. One of the most famous moves in belly dance is the shimmy, a shimmering vibration of the hips. This vibration is created by moving the knees past each other at high speed, although some dancers use contractions of the glutes instead.

[edit] Raqs Sharqi

Raqs Sharqi translates from Arabic as "dance of the Orient" or "Oriental Dance". Belly dance is a misnomer as all parts of the body are involved in the dance, and the most important body part is the hips.
Raqs Sharqi is, fundamentally, a solo improvisational dance with its own unique dance vocabulary that is fluidly integrated with the music’s rhythm. The most admired Raqs Sharqi dancers are those who can best project their emotions through dance, even if their dance is made up of simple movements. The dancer’s goal is to visually communicate to the audience the emotion and rhythm of the music.
Many see Raqs Sharqi as celebrating the sensuality and power of a mature woman. A common school of thought believes that young dancers have insufficient life experience to convey the requisite emotions.^{[citation needed]} Sohair Zaki, Fifi Abdou, Lucy, Nagua Fouad, and Dina are all popular Egyptian dancers above the age of forty.
Despite the fame of female dancers, men often perform Raqs Sharqi in the West, but not in public in Arab countries.
Egyptian-style raqs sharqi is based on Baladi, a folk style of dance from the Arab Tribes who settled in Upper Egypt. Later the work of belly dance legends Samia Gamal, Tahiya Karioka, Naima Akef, and other dancers who rose to fame during the golden years of the Egyptian film industry. Later dancers who based their styles partially on the dances of these artists are Sohair Zaki, Fifi Abdou, and Nagwa Fouad. All rose to fame between 1960 and 1980, are still popular today, and have nearly risen to the same level of stardom and influence on the style.
Though the basic movements of Raqs Sharqi have remained the same, the dance form continues to evolve. Nelly Mazloum and Mahmoud Reda are noted for incorporating elements of ballet into Raqs Sharqi and their influence can be seen in modern Egyptian dancers who stand on relevé as they turn or travel through their dance space in a circle or figure eight.
In Egypt, three main forms of the traditional dance are associated with belly dance: Baladi/Beledi, Sha'abi and Sharqi.
Arabic belly dance was among the first styles to be witnessed by Westerners. During Napoleon's invasion of Egypt, his troops encountered the Ghawazee tribe. The Ghawazee made their living as professional entertainers and musicians. The women often engaged in prostitution on the side, and often had a street dedicated to their trade in the towns where they resided, though some were quasi-nomadic.

[edit] Turkish forms

Some mistakenly believe that Turkish oriental dancing is known as Çiftetelli because this style of music has been incorporated into oriental dancing by Arabs and Greeks, illustrated by the fact that the Greek belly dance is called Tsifteteli. However, Turkish Çiftetelli is more correctly a form of wedding folk music, the part that makes up the lively part of the dance at the wedding and is not connected with oriental dancing.
Turkish belly dance today may have been influenced by Arab people before the Ottoman Empire as much as by the Egyptian and Syrian/Lebanese forms, having developed from the Ottoman rakkas to the oriental dance known worldwide today. As Turkish law does not impose restrictions on Turkish dancers' movements and costuming as in Egypt, where dancers are prevented from performing floor work and certain pelvic movements, Turkish dancers are often more outwardly expressive than their Egyptian counterparts. Many professional dancers and musicians in Turkey continue to be of Romani heritage as well. (However, people of Turkish Romani heritage also have a distinct dance style which is uniquely different from the Turkish Oriental style.) Turkish dancers are known for their energetic, athletic (even gymnastic) style, and particularly, until the past few years, their adept use of finger cymbals, also known as zils. Connoisseurs of Turkish dance often say that a dancer who cannot play the zills is not an accomplished dancer. Another distinguishing element of the Turkish style is the use of the Karsilama rhythm in a 9/8 time signature, counted as 12-34-56-789. Turkish belly dance costumes can be very revealing, with the belt sometimes worn high up on the waist and split skirts which expose the entire leg, although dancers today are costuming themselves more like Egyptian dancers and wearing more modest "mermaid"-style skirts. The Turkish style is emphasized further by the dancer wearing high heels and often platform shoes. Famous Turkish belly dancers include Tulay Karaca, Nesrin Topkapi and Birgul Berai.
When immigrants from Arab States began to immigrate to New York in the 1930s and 1940s, dancers started to perform a mixture of these styles in the nightclubs and restaurants. Often called "Classic Cabaret" or "American Cabaret" belly dance, these dancers are the grandmothers and great-grandmothers of some of today's most accomplished performers, such as Anahid Sofian, Aisha Ali, and Artemis




























Thanks-Stay Metal, Stay Brutal-\m/ -l-