Focusing on Egypt during the period 1760 to 1870, this book fills in some of the historical blanks for a dance form often known today in the Middle East as raqs sharki or raqs baladi, and in Western countries as "belly dance." Eyewitness accounts written by European travelers, the major primary source for modern scholars, provide most of the research material. The author shapes these numerous accounts into a coherent whole, providing a picture of Egyptian female entertainers of the period as professionals in the arts, rather than as a group of unnamed "ethnic" dancers and singers. Analysis is given of the contexts of this dance--that was a legitimate performing art form in Egyptian society appreciated by a wide variety of audiences--with a focus on actual performances--and a re-creation of choreography.

In these essays, dancers and scholars from around the world carefully consider the transformation of an improvised folk form from North Africa and the Middle East into a popular global dance practice. They explore the differences between the solo improvisational forms of North Africa and the Middle East, often referred to as raqs sharki, which are part of family celebrations, and the numerous globalized versions of this dance form, belly dance, derived from the movement vocabulary of North Africa and the Middle East but with a variety of performance styles distinct from its site of origin. Local versions of belly dance have grown and changed along with the role that dance plays in the community. The global evolution of belly dance is an inspiring example of the interplay of imagination, the internet and the social forces of local communities. All royalties are being donated to Women for Women International, an organization dedicated to supporting women survivors of war through economic, health, and social education programs. The contributors are proud to provide continuing sponsorship to such a worthwhile and necessary cause.

In Egypt, singing and dancing are considered essential on happy occasions. Professional entertainers often perform at weddings and other celebrations, and a host family’s prestige rises with the number, expense, and fame of the entertainers they hire. Paradoxically, however, the entertainers themselves are often viewed as disreputable people and are accorded little prestige in Egyptian society. This paradox forms the starting point of Karin van Nieuwkerk’s look at the Egyptian entertainment trade. She explores the lives of female performers and the reasons why work they regard as "a trade like any other" is considered disreputable in Egyptian society. In particular, she demonstrates that while male entertainers are often viewed as simply "making a living," female performers are almost always considered bad, seductive women engaged in dishonorable conduct. She traces this perception to the social definition of the female body as always and only sexual and enticing—a perception that stigmatizes women entertainers even as it simultaneously offers them a means of livelihood. Drawn from extensive fieldwork and enriched with the life stories of entertainers and nightclub performers, this is the first ethnography of female singers and dancers in present-day Egypt. It will be of interest to a wide audience in anthropology, women’s studies, and Middle Eastern culture, as well as anyone who enjoys belly dancing.

A complete background and guide to this ancient, erotic dance.

Raqs sharqi, the Egyptian dance form also known as belly dance, has for generations captured imaginations around the globe. Yet its origins have been obscured by misinformation and conjecture, rooted in Orientalist attitudes about the Middle East--a widely accepted narrative suggests the dance was created in response to Western influences and desires. Drawing on an array of primary sources, the author traces the early development of raqs sharqi in the context of contemporary trends in Egyptian arts and entertainment. The dance is revealed to be a hybrid cultural expression, emerging with the formation of Egyptian national identity at the end of the 19th century, when Egypt was occupied by the British.

"Come, sit by me," says Grandmother. "Take this chalk in your hand. Now draw a dot and concentrate all your energy into this one dot. It is the beginning and the end, the navel of the world." So Fawzia Al-Rawi describes her grandmother's first lesson about the ancient craft of Oriental dance. Grandmother's Secretsalways circles back to this grandmother and this young girl, echoing the circular movements of the dance itself. Al-Rawi has written a strikingly graceful and original book that blends personal memoir with the history and theory of the dance known in the West as "belly dancing." It is the story of a young Arab girl as she is initiated into womanhood. It is a history of the dance from the earliest times through the days of the Pharaohs, the Roman Empire, to the Arab world of the last three centuries. It is a personal investigation into the effects of the dance's movements on individual parts of the body and the whole psyche. It is a guide to the actual techniques of the dance for those who are inspired to put down the book and move. Al-Rawi conveys in this book not only the history and technique of grieving and mourning dances, pregnancy and birth dances, but the spirit of these age-old rituals, and their possibilities for healing and empowering women today.

Imagine having a team of belly dance mentors willing to coach you through your belly dance journey. You might want their help and advice on selecting music, venues, costume or props. Perhaps you would like to hear about the pit-falls and problems of dancing at each different type of events, or the correct etiquette for classes and workshops. Maybe you would like their thoughts on your costuming, or some tips on putting together a web site, or managing your social networking. All of this and more is covered in Becoming a Belly Dancer, from stage fright to retirement, ATS to Zar. Becoming a Belly Dancer is a stagecraft handbook that provides valuable information, learned-in-the-trenches tips, and guidance for belly dancers who are ready to take the step from student to performer, or from performer to professional. Sara Shrapnell, author of "Teaching Belly Dance" and Dawn Devine, author of "Cloth of Egypt" and 13 other belly dance and costuming books, including the bestselling "Embellished Bras" and the now classic "Costuming from the Hip", have collaborated to produce "Becoming a Belly Dancer". Between them, they have more than 50 years of combined experience as performers, teachers, dancers and costume designers. Alisha Westerfeld explored the established and upcoming talent of the Bay Area to bring her beautiful photography to every page of this project. International belly dance celebrity and costume designer Poppy Maya adds her own special brand of "Additional Awesomeness" to the book, and the input of a young dancer, currently making her living through belly dance. The authors hope to bring the warmth, support, and humor of a teacher in absence, a true friend and a trusted advisor who has only one main goal: you. They want to focus on helping you be the best prepared physically and mentally for the challenges of performing for friends, family, the dance community, and the greater society, both in person at public venues, and via media available on the internet. The book covers improving your dance skills, good practice habits, preparing physically and emotionally, critiquing, picking your music and venues and dancer etiquette. In addition, the book includes extensive sections on costume design and selection, sewing and no sewing costumes, accessorizing, hair and makeup and presenting to the world the very best belly dancer that you can be."Becoming a Belly Dancer: From Student to Stage" is a useful and inspiring tool that will help belly dancers to be ready for the big day, so they can dazzle, impress and wow with talent and style.