Mellilah’s Belly Dance Blog

Right now I’m currently in love with the baladi style of belly dance. I’ve talked to many people and seem to get a lot of different perspectives. For my own benefit, I’m going to attempt to put it all together. Please feel free to comment if you disagree or think I’m missing a major point.

Raqs Baladi
The Arabic term baladi (beledi) means “of the people.” It represents the everyday life of the people, their culture. The term itself is quite confusing as there are several contexts in which this word is used, including:

1. To represent a particular rhythm found in almost all oriental music, recognized by the sturcture of accents, the “dums” played on the tabla. However, it should be noted that it’s purely an American practice to associate the term baladi with a specific rhythm, the masmoudi sagheer. In other words if you went to Egypt and asked the band to play a baladi rhythm, they probably wouldn’t know what you were talking about. Variations of the baladi rhythm include maksoum and saidi.

2. To represent a central part of the oriental dance routine known as the taqsim baladi or baladi awadi, which includes a “call & answer” on the tabla and baladi and fellahy rhythms.

3. To loosely label what is currently popular (of the people)

4. To represent a common style of dance found in Egypt today. It’s the style of dance people use at haflas, weddings, at home and in dance clubs. The Egyptian people use this style when dancing to all sorts of music, including Al Jeer (pop) and Western music.

5. Raqs baladi (baladi dance) is used to represent a folkloric style of Egyptian dance, which is very grounded and earthy. Raqs baladi includes saidi, fellahin and bambootia dance. Baladi dancers wear an ankle length, baladi dress with a hip scarf.

Baladi is the most ancient form of Egyptian solo dance. Raqs sharki or oriental dance, more commonly known as belly dance, is a by-product of this original style of Eyptian dance.

Video footage of taqsim baladi:
Fifi Abdo
Fifi Abdo
Orit Maftsir
Orit Maftsir
Najla from Bratislava

Dances of Tunisia: Written by Mellilah

The traditional dance of Tunisia is characterized by sharp, horizontal twisting movements of the hips with flowing upper bodies, danced almost entirely on demi-point (on the toes) with arms held in a “w” shape. This dance is seen at weddings and parties, and in the southern islands of Kerkennah and Djerba, the dance is often performed with a clay water pot balanced on the head.

These dancers wear a blouse, a “khamisa,” underneath a large rectangular wrap, a “melia,” fastened at the shoulder with two large pins, with a belt of woollen yard around their waists. Additionally, married women wear a “khul-khal,” a famous Tunisian ankle bracelet, to ward off snakes with its rattle-like noise. (Unmarried virgins are believed to have inherent protection from snake bites.)

The Tunisians have another dance called the Stambali, a true trance dance, which is performed in sanctuaries and in people’s homes as a therapeutic remedy. This dance accompanies the sacrifice of an animal and is performed in regard to Sidi Saad, their patron saint.

Video Example

A Brief History of Belly Dance by Mellilah

Seen as an ancient dance form, belly dance evolved through various ancient dance traditions throughout North African and the Middle East.

Baladi means “country” or “folk” and refers to a particular style and costuming. Primarily in the US, baladi is also used to represent a specific rhythm, the masmoudi sagheer. Prior to the twentieth century, baladi was performed primarily for weddings, outdoor festivals, coffee houses and private residences. The baladi style was performed in small spaces and was improvisational, utilizing movements of the shoulders and hips. Traditional instruments accompanied Baladi dancers, including drums, wind or string instruments, and tambourines, and their costumes consisted of an optional headscarf, a floor length dress, and hip scarf.

Although today belly dance is practiced all over the globe, the Golden Era of belly dance rests in the mid-twentieth century in Egypt. In 1926, Badia Masabny, Lebanese dancer and actress, opened “Casino Badia,” a nightclub in Cairo that was modeled after the cabarets in Europe. Casino Badia featured Eastern as well as Western entertainment, which both European and Middle Eastern audiences found appealing. Similar nightclubs emerged in Beirut, Algiers and throughout Cairo. It is at this time, that the evolution of baladi to raqs sharki, the sophisticated art form that we know today, began.

Baladi was transformed into a refined art form, utilizing more sophisticated movements, veils, and encompassing a larger stage area, as well as embracing ballet inspired arms, posture, and foot placement, on the balls of the feet. Dancers wore bedlahs, two-pieced, sequined costumes, inspired by Hollywood, and for the first time, dancers reached celebrity status and gained prestige. Products of this period are famous dancers Samia Gamal and Tahia Carioca.

The translation of Arabic term “raqs sharki” is “dance of the East” or “oriental dance.” French travelers referred to raqs sharki as danse du ventre (dance of the belly), as what they witnessed was bizarre to them. The terms belly dance or raqs sharki are widely used today.

I have many favorite dancers but Leila remains at the top for me.

Even if she’s not your favorite dancer, you have to admit that she’s absolutely drop dead gorgeous to look at! Besides this, you have to respect her tenacity. Originally from the Northwest, north of Seattle, she quickly became one of Seattle’s most loved and regularly booked dancers. Determined to make a name for herself, she moved out to Cairo in 1999, studied with the best Egyptian instructors, learned Arabic, and quickly moved on to dancing at the top 5-star hotels with her own band, becoming one of Cairo’s most sought after belly dancers, as well as a well known Egyptian actress and model!

Leila and I have similar body types, which is another attraction for me. I find that there are some definite benefits of studying with people who are of the same/similar body type as you (that is once you get to a certain level). Long arms take longer to move through space, and I have a lot of real estate to move around! I have found that petite dancers sometimes have a hard time relating to this. Moves that look good on a petite person aren’t going to look the same on me! Did I also mention that I have four of Leila’s costumes! That’s another benefit of having the same body type as her. When she’s visiting Seattle, I can always count on picking up one of her hand-me-downs! : )

Most importantly, Leila’s dancing is elegant yet commanding, beautifully Egyptian, and mesmerizing to watch! See for yourself! Video Footage of Leila below:

Nile Group Festival Opening
Saidi at Nile Group Festival
Nile Group Festival
Nile Group Festival Part 2
Bint al Belad A sample of her first video
Leila w/ Singer
Cairo Belly Dancing
Raks al Assaya This clip was probably filmed
around 1999-2000.
Leila as Actress

Leila often visits Seattle. Be sure to catch her workshops when she does! You won’t be disappointed.

I really, really wish I had learned the zills when I began dancing!! Unfortunately, when I learned to dance, most of my teachers didn’t use zills (finger cymbals) in their classes. Because it wasn’t used in class and I never took the initiative to teach myself, I danced for years without them, and now my zills are not up to par with my dancing. It’s taking a lot of discipline to make myself use them, but I know it will pay off in the end.

I think it’s never too early to begin learning zills and really want my students to learn early on. However, I’ve decided that I will begin teaching zills in my Level 2 classes due to the nature of my Level 1 classes and the various objectives people have for signing up for the class.

Where do you buy zills? Saroya is the best place for purchasing zills. If you click on “Students & Advanced Dancers” you’ll see cymbals that are mellow toned and lightweight for students at around $15 a set. (You can read about the history of zills here, too.)

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AMERICAN RESTAURANT / AMERICAN CABARET / EGYPTIAN CABARET
Video Example
Video Example

CLASSICAL EGYPTIAN / EGYPTIAN ORIENTAL
Video Example
Video Example

U.S. TRIBAL
Video Example

For more info, here’s the best Online resource on this topic: Shira.net

And this one is really awesome! It takes you on a video journey through the evolution of belly dance and its various styles! Video Clip Guide by Hannan Sultan-

Below is a list of Western songs that use Middle Eastern or Asian Beats/Effects: (I just found this info Online and I’m not so sure how accurate it is.) Let me know your thoughts.

Me Against the Music (Rishi Rich Mix) - Britney Spears
Baby Boy, Beautiful Liar, and Naughty Girl - Beyonce
Danger and Stranger - Hillary Duff
In My Pocket - Mandy Moore
Desert Rose - Sting
Wait For You - Nelly Furtado
Isaac - Madonna
Outrageous - Britney Spears
Kiss Kiss - Holly Valance
Get Ur Freak On - Missy Elliott
Pump up the Volume - MARRS
Toxic - Britney Spears
Tattva - Kula Shaker
Whenever, Wherever- Shakira
Ever so Lonely - Monsoon
Buttons - PCD
Like This - Kelly Rowland
Songs by Shakira

—Middle Eastern (M.E.) The complexity of the rhythm and the purity of the melodic line are most important in this type of music. In contrast, Western music has a harmonic framework and a beginning, middle and end. M.E. music has an ebb and flow, a continuous development and endless repetition with embellishments and variations.

—M.E. music uses quartertones, a pitch that is half way between a white and black key on a piano

—Western music uses chords (harmony) while M.E. music does not. There’s only one melodic line.

More reading about M.E. music:
Shira’s Site Describes type of M.E. music, structure of the music, and instruments used
Zehara’s Site More in-depth description of structure

Here are some of my favorite dancers:

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Orit Masftir From Israel

Evgenia Kopteva Russian dancer

Leila of Cairo Originally from Seattle, WA

Liela of Cairo Another video

Sohaila Located in SanDiego, CA

Dina Cairo Superstar

Fifi Abdo Belly Dance Legend

Fifi Another video of Fifi Abdo

When purchasing music, there are a few things to consider:

You’ll want to find songs with a medium tempo. These are easiest for practicing. Even when practicing shimmies, I’ve found it’s way more productive to practice with medium tempo songs, building up to faster tempos. Discipline is the key. Think of your shimmy as a metronome, it should be even and steady with the tempo of the music.
For practicing drills, Egyptian pop is great because it’s more repetitive than Oriental. For beginners, Egyptian pop is also easier for improvisation.

You should find music that you enjoy, after all, that’s why we’re here, for fun! Hollywood Music Center This site allows you to listen to some of the tracks on each album, and they have a large selection to choose from.

Here are some of my personal recommendations for beginner/intermediate dancers, specifically for practice:

*Sunshine Arabia 2006 or one of the other volumes- Compilation of Egyptian pop and other; lots of medium tempo songs for practice

*Hakim – Any albums by this artist; Egyptian Pop; easy to dance to

*Bellydance Superstars,” Volumes 1-5 - Most people love these songs; You can buy directly from “Bellydance Superstars.”

*Sahara Groove – Variety of artists, medium tempo songs for practice

*The Orient Beats Back, One Thousand & One nights – Remixes by Said Mrad, fast songs with heavy beats, great for shimmy practice

*Tapestry of the Dance by John Bilezikjian and Var Daghdevirian- Turkish, Greek and Persian music; contains a full belly dance routine and other songs

*Kenza by Khaled - Moroccan rai music; easy to dance to

*Dellali by Cheb Mami –Moroccan rai music; easy to dance to

*Arabic Groove and Sahara Lounge by Putumayo World Music – Great listening music and practice songs