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The student in Middle Eastern dance faces many physical and emotional challenges.  The body and mind must be tamed to layer and twist itself, with precision and grace, to the heavily percussive music from the Middle East making this study as profound and mysterious as its history.  

 

Spanning back to the beginning of our civilization, this history wants and can be told a million and one ways.  This is a story that grows with each dancer’s victories and failures over the body and spirit.   While the mind learns to control the body, it also learns  to release inhibitions and insecurities.  

 

The basic technique can take years to make natural to the body.   Physically, like any professional dance, Middle Eastern dance requires musicality, coordination, grace and presentation. 

 

Of particular interest to Middle Eastern dance is deep muscle isolation, the layering of movement and an intense interaction to the music and to the audience.   However, the bigger challenge and lure for the student in Middle Eastern dance is not physical skill, as noted by the panel of dancers that were interviewed in this article.  

 

Middle Eastern dance respects passion and sensuality. 

 

Azrakesh

The passion expressed in this dance is a passion for life – which includes a wider range of emotion and personality than the basic fare of sex and aggression.              

                                                              

Technical skills are, in fact, just words in a language of movement.  The dancer’s greatest challenge is expressing her/himself with those words.  

 

"A dancer with a great smile and medium skill is more appealing than technical perfection from a cold fish," said Azrakesh, the president of MEDA (Middle Eastern Dance Association).   

 

Kashmir, a dancer/instructor from New Zealand, added, "More important she should look as if she is inhabiting her body and partaking in the dance.  A fixed smile is neither a requirement nor desirable.  A wind-up dolly is often worse than a dancer with poor physical control."  

 

This passion and sensuality must be genuine.  

 

Jasmin Jahal

"The Middle Eastern dancer should have a freedom of emotional expression that is genuinely from the heart and not contrived," according to Jasmin Jahal, a lauded dancer/instructor/writer from Chicago, USA.  

 

Mezdulene, editor/owner of Jareeda Magazine, added, "I prefer audience contact, or in other words, what the dancer gives when she dances. It doesn't matter how fast, agile or flexible she is, if she doesn't give of herself when she does it."  

 

This passion and sensuality must be the dancer’s own. 

 

Tamalyn Dallal, an internationally renowned dancer, added that more than the ability to show emotion or ‘heart’, she likes to see the dancer show originality and personality.  "Not a carbon copy of someone else."  

 

Viraj, a professional male dancer/instructor of Sandaria Health Arts, enforced this idea by saying each dancer must show, "flexibility of character or personality quirks that really show this individual's uniqueness and creative response to the unexpected."  

 

The Practice Makes Perfect rule can be safely applied to most physical movement.  But how do you train yourself to be you through the movements of Middle Eastern dance?  What if you isn’t naturally passionate or beautifully expressive.  What are the basics for passion and confidence, then? 

 

Tamalyn Dallal tells us that we need only begin by relaxing.  "Relaxation is the way to go," she said.  "Go inside the music."  

 

The physical practice of Middle Eastern dance encourages our passion and expression to come to the surface.    

 

Jasmin Jahal describes her skills in Middle Eastern dance, "like a painter using her pallet of colors; a variety to choose from and mix together as she creates something beautiful."  

 

Like any physical skill such as flexibility, agility or speed, emotional expression such as sensuality requires awareness.    

 

Kashmir

"Sensuality is a flavouring," Kashmir continued.  "I love onions & paprika but I don't want all my food to taste like lecso.  I prefer a wider range of communication linking the music and the audience." 

 

Sensuality means more than just flavouring for Hannan Sultan, an instructor/performer from Toronto.  "I don't mean it in "sexy" terms but in the degree to which a dancer is IN her body and makes use of the deep muscles to generate movement.  That, combined with good use of slow movement and good foot contact, is really mesmerizing."  

 

Aisha Ali, a renowned instructor, performer and academic in Middle Eastern dance, believes that skills such as speed, flexibility or agility are not as significant to sensuality.   

 

"Speed is generally determined by the music," she said.  "Agility shows training and natural grace, flexibility changes over the years but isn't that important when you have sensuality."  

 

Viraj, being a rare male Middle Eastern dancer, was able to provide a unique perspective on the way the physical and emotional skills of Middle Eastern dance cross each other.   

 

"In the West, women are becoming more strong and independent while retaining a feminine side yet men are behind in adopting traditionally female traits, like nurturing, fluidity and softness, that remains strong.   So women advance faster than men.  They can adopt the best 'masculine' and 'feminine' traits while men fall behind in this.  Although this opens the Pandora’s box of gender roles/expectations.   I personally insist that if you are a man you should dance with a strength or masculine flair, or if not, then be (and dress) the woman or ambiguous androgynous role you wish to express."   

 

"Hardness, alone, is unseemly.  For men, softness, alone, is also unseemly.  I wish men and women to have both hardness (strength, speed, stamina and power) and softness (suppleness,  fluidity and flexibility) and sensuality (being universal and so non-gender).  The best example I can recall is when women do cane and can’t spin it to swat a bug - it's pathetic (circular or large figure 8s around the body).  When Hadia spins her cane it becomes a silver disc, I no longer see it. That rocks.  The all-stars like Dina, Amani, Lucy and Suraya all have a strong-core.  Whatever your gender I need to respect you and I need to value your humanity which naturally has a mix of soft/hard or feminine/masculine traits." 

 

Aisha Ali

Aisha Ali chronicles the progression of the average student, "At first, the student is curious about the exotic aspects of the dance, yet feels certain they should be able to learn everything in about eight weeks.   After their first class, they are somewhat intimidated and feel their movements are not as graceful as they might have been.  By the second class, they feel frustrated and they want to be reassured that there is hope for them. Generally, after about two months they are getting a feel for the dance and starting to enjoy themselves.  My favourites are those who begin with an open mind and learn by imitating my movements without too much analyzing.  I can immediately see a smile of delight in their faces."  

 

Jasmin Jahal added, "Generally, the average student begins out of curiousity or for fitness.  In a short time, at least in my school, they see that the dance is much more than fitness and fun.  They see that it is a lovely art form which compliments women, and allows them to be themselves, to accept themselves at whatever age and size they are."  

 

"Emotionally, the biggest breakthroughs, I think, is when a dancer is ready to dance in front of an audience (usually at Student Nights arranged by the teacher, filled with supportive friends and family)," Azrakesh said.  "Then the next big breakthrough is when they are confident and skilled enough to dance professionally, for crowds that they don't know."  

 

"At first, students are learning a new language of the body," Mezdulene said.  "They are focused on the physical.  Those who stick with it become emotionally involved as they

Tamalyn Dallal

become more in touch with themselves.  Those who decide to perform become empowered as they gain confidence in themselves." 

 

Few students, who finish their basic training, are unchanged by the introduction of Middle Eastern dance in their lives.  Middle Eastern strengthens and beautifies our self-awareness.   As frustrating as the beginning stage can be, this dance is a pleasure and communion with the body and spirit. 

  

The joy of learning Middle Eastern dance is discovering that beauty and strength of character are actually natural to us.  This study is a life’s study, designed to grow with the dancer’s own maturity.  

 

"It takes at least a year to assimilate the movements and music into your body and personality," said Tamalyn Dallal.  "Even if you are a really fast learner, it will be pure mechanics until then.  After a year, it is a lifetime journey, as a student of dance."

 

Middle Eastern Dance Basics

Some basic named moves:

snake arms shoulder shimmy head slides belly rolls camel (reverse of belly roll) hip circles hip figure 8's (vertical and horizontal) hip lift hip drop chest lift and drop chest slides chest circles basic shimmy piston shimmy twist shimmy Hand circles undulations simple turns Some work with a veil and finger cymbals.

Azrakesh begins the student by teaching that the dance is about isolations.

 

Jocelyne Khan starts her students with a breakdown of movements, practising those until the students feel comfortable moving their bodies in the new ways, then gradually introduce mixing up the movements into improvisation and choreographed routines. 

 

Key elements that the beginner student must adhere to, according to Kashmir, are: "Correct posture (in particular: soft knees, neutral pelvis, torso lifted, shoulders relaxed, body vertical).  Also, automatic core control.  That is, posture muscles that hold the lower back in place and can be engaged without conscious thought."   

 

And these skills must be learned in "a relaxed manner," added Aisha Ali.

 

Jasmin Jahal reminds us that the student needs to, "learn how to hear the beat, even if the specific rhythms can be learned later.  They must also learn that this dance is not about sexuality and vulgarity, but is a compliment to the feminine form, to women, and to art." 

 

Mezdulene commented, "Belly dance is not standardized like other dance forms.  One teacher may call a step "camel walk" and another calls it an "undulation walk" another calls the same movement a "body wave step."  This is an art form that has been passed mostly by word of mouth, and is continually evolving.   So, in my opinion the core basics of belly dance are isolation and posture."

 

Jocelyne Khan

by photographer Yvon Sauve

The very stage for Middle Eastern dance is as multi-layered as its practice.  Personal expression and technical skill are tested in three very different environments.  Middle Eastern dance can be performed socially, at parties and social gatherings with friends, as a choreographed performance, in front of an audience, or as an improv or impromptu dance before an audience guided by the music and crowd.   These different environments teach the dancer how to be spontaneous with the music, to communicate with the group or audience and to be precise in performance.  

 

Jocelyne Khan commented that social dancing allows her to enjoy the simple pleasures of the movements.  "We can have a great time doing only one or two moves all night long."

 

For Kashmir, there is more interaction and playful competitiveness in social dancing, "as in, "Hey, what about this?"  "Yeah, okay but can you do this?"  There is more of a sense of fun and celebration."  

 

For Jasmin Jahal, improv dance is the better challenge for the dancer. "Choreography can be a great tool for learning the body discipline necessary before one attempts to dance improv on a stage."  

 

"Choreography is more classical," Azrakesh said. "As it's used more for paying audiences, skill and clarity are more important.  Improv depends on the crowd.  Restaurant and bellygram dancers have to deal with unpredictable crowds and dance areas.  They are expected to be of a professional level in their technical ability, and more importantly, they have to be able to break down that fourth wall and connect with the audience in a way that makes that audience comfortable."  

 

"In improv," Aisha Ali commented, "one is free to be guided only by the music and to draw on technical experience from the subconscious, which allows the ultimate in expressiveness."  

 

"Socially, the emphasis is on fun, not technique. Of course, if a dancer can wow her friends, she has to have some good moves!" Hannan Sultan said.  "A choreographed performance gives the dancer the opportunity to be sure she has covered all her bases, so to speak.  It also lets us feel like we are "normal" dancers who use choreography.  A good improvised performance has the most opportunity for soul, though."  

 

Mezdulene commented that, "Improv is dancing to your mood.  You might dance to the same music 10 times, but each dance is different depending on mood, circumstance, audience, etc.  So to me improv is more creative, a physical manifestation of what is going on in the moment rather then a practiced choreography."

 

The Qualities of the Master Bellydancer 

 

Hannan Sultan

"A master bellydancer?"  Hannan Sultan asked.  "It is a rare thing, and when you see it, you know it.  Master belly dancers have a ripeness about them. I don't think anyone under 35 should worry themselves with trying to claim "master" status. The real masters are the dancers over fifty who stand there and just do one hip drop that is so perfectly timed and executed it leaves you in tears!" 

 

Aisha Ali said that the dancer should have confidence and grace.  "She has excellent technique and experience so that other dance teachers will want to learn from her." 

 

Kashmir said, "Her movements should enhance the music - both in terms of quality and quantity. What movements are performed are not as important as them being appropriate and well executed.   With a dancer of great physical ability this may often mean holding back - I do not want the spell broken by a "wow, how does she do that?" thought.  Needless to say transitions should be smooth (except for the occasional deliberate surprise)."

 

Viraj answered that the music "demands nuance, subtlety and complexity of arrangement/expression not simply execution.  We need to see consistency of all above due to their superb ego management and wide skill base that must include western and other world dance styles. 

 

"I want to see lifted posture, clear isolations, eloquent articulations, professional physical presentation, transitions with finesse, fluid undulations of the whole body or parts of the body, intelligent music interpretation, strong feet, and good costume choices," Hannan Sultan added. "If a dancer has a well-chosen, dynamic set of music and soul, then I am over the moon. If she has nothing else but soul, good musical interpretation, and good posture, then I'll still be okay!"

 

 

Aisha Ali

"Many people have trouble with the chest isolations," Azrakesh answered. "because they aren't movements that we use in our "real" lives, so initially the range of motion can be very small and therefore frustrating." 

 

Jocelyne Khan answered, "I find that my students seem to have the hardest time with "undulations" (what some people call "camels" or "body waves")." This movement looks like a wave or curve is rolling upwards or downwards vertically through the body. 

 

Aisha Ali added that undulations are particularly difficult to do because it needs to look fluid and unself-conscious.  

 

"For me it is the drop/release (also called drop/kick) where the hip drops then drops again with a release. This is probably due to my strange hip joints," Kashmir smiled.   

 

Jasmin Jahal’s students have often had difficulty with strong shimmies that have stamina and variety. 

 

"Anything with zils," Tamalyn Dallal answered.

 

Mezdulene

Hannan Sultan commented, "Personally, complicated step patterns with irregular timing were my biggest challenge.  Most people find layered shimmies (a controlled, continuous shake of the hips generated by rhythmic movement of the legs with an upper body isolation on it) to be quite hard." 

 

"For my students," Mezdulene answered. "the shoulder shimmy is the hardest movement to learn. It's more of a mental hindrance then physical one." 

 

Viraj said, "I can guarantee that finger cymbals with full-body travelling steps and arm changes take the longest time to learn, especially when all 3 are in different rhythms/speeds.  This takes the longest time to learn based on personal and student based experiences."

 

 

Hannan Sultan

"Anything with a pelvic contraction.  Also, hands and arms," Tamalyn Dallal answered. 

 

"Shimmies and undulations," from Aisha Ali. 

 

Azrakesh’s favourite moves are vertical hip figure 8's and chest circles.  "Anything that shows a range of motion, rather than shimmies, which show stamina but aren't as expressive." 

 

"I do love to shimmy a whole lot, but also enjoy undulating camels," Jocelyne Khan answered. "I have a tendency to dance more with my hips/lower body more than using upper body movements, but that's really just more a habit than a conscious choice.

 

Kashmir enjoys "the vertical figure eight, especially with a relaxed torso in counter movement, relaxed up/down hip shimmies and the scissor walk with a twist, drop and reverb." 

 

Jasmin Jahal enjoys "strong shimmies that have stamina and variety, dancing with a long silk veil that blends with my body and not treated like a prop and movements that connect directly with the audience and encourage interaction." 

 

"I love movements that require deep use of the abdominal muscles and psoas," Hannan Sultan answered. "My current favourite is the Egyptian Twist. It looks like you are making taffy with the hips! It starts with the right hip dropping way down, staying dropped and twisting to the back, the the abs and psoas tucking the pelvis way under, then repeat on the left. Now do that fast!"

 

Mezdulene’s favourite moves are undulations and arm movements. 

 

"Novel combinations with contrasting components (sharp vs. smooth) that fit music well and have complimentary arm movements," Viraj answered.  "These, to me, fit the ideal of visually representing the music.  Layered shimmies are another favourite.  For example, hip or vibrational shimmy with compound hip move like undulation or figure 8 in any plane."

 

 

Kashmir

Kashmir is built upon a woman who was born in the deep south of New Zealand; nurtured on a mix of Scottish bagpipes and country and western music. Escaping at an early age to study electrical engineering, she was captured by the power of dance that didn’t require a kilt – initially jazz and modern. It was after many years that she found an even more perfect dance form - raqs.

Kashmir began studying Middle Eastern Dance in 1991 from a wide range of instructors both local and International. In addition to attending workshops in NZ and the Sydney Festival, she is a regular attendee to the Brisbane Winter Warmup (an 8-day intensive in June/July). This has allowed Kashmir to build up her knowledge in a number of styles, but in particular Egyptian folkloric, Urban Beledi and Oriental.

 

 

 

Azrakesh

Azrakesh - "Azrakesh" is my westernized version of  the Persian "Azrakhsh" which means "fiery; storm or tempest".  I started as a student in 1993, my two main teachers have been Elizabeth Carefoot and Kim Pechet.  I have been known to do occasional paid gigs, but more often I do events with other dance friends (student nights, theatre fundraisers, community events, friend's birthdays, that sort of thing).  I began teaching last year, running a weekly "Bodacious Belly Dance" class for plus-sized women such as myself.   I'm currently the President of MEDA (Middle Eastern Dance Association), I've been involved with them for years and often emcee their stage events.

 

 

 

 

Jocelyne Khan

by photographer Yvon Sauve

Jocelyne Khan – "Teacher, performer and perpetual student" based in Ottawa, Canada, Jocelyne Khan has had a prolific career in various forms of fitness and dance.  She has published articles in Middle-Eastern dance magazines and newsletters, and regularly participates in dance-related discussion groups online.  She is a member of Dance Ontario, the Ontario Middle-Eastern Dance Association  (OMEDA), the International Academy of Middle Eastern Dance (IAMED) the Middle-Eastern Dance and Culture Association (MEDCA) and a provisional member of the Canadian Alliance of Dance Artists (CADA).

 

 

 

 

Aisha Ali

Aisha Ali is an internationally recognized authority on the dances of

Egypt and North Africa. Following her successes in the United States, she performed widely in Europe and the Middle East. For over twenty years she directed her folkloric ensemble, the Aisha Ali Dance Company.

In 1971, Aisha traveled to the Middle East to observe firsthand many traditional styles of dance not seen in the United States. She made subsequent visits to Egypt, Algeria and Tunisia from 1973 to 1997 to document folkloric materials that were fast disappearing. As a result, she has released numerous audio and video recordings.

In 1973, while a featured soloist at the Municipal Theater in Sfax, Tunisia, the Maison de la Culture asked Aisha to form a dance company. Later that year she stayed among the Ouled Naïl in Algeria, a tribe famous for its dancing women. Over the years she has frequently danced at celebrations in Upper Egypt with the Banat Maazin, a Nawar gypsy family of Ghawazee.

In the United States, Aisha directed the North African performers at the Los Angeles Olympics opening festival in 1984 and was soloist at the grand opening of the LA Festival in 1993. In 1994, she was inducted into the Hall of Fame by the American Academy of Middle Eastern Dance in New York, and in 2000, she was an honored speaker and soloist at the International Conference of Middle Eastern Dance. Recently she was featured in a folk dance program at Cornell University.

dvd		video

For many years, Aisha contributed articles to Arabesque magazine, and continues to write articles for Habibi. She has contributed articles to numerous publications, including an article on the Ouled Nail published by the International Institute for the Study of Islam, the section on Egypt for the JVC/Smithsonian "Anthology of World Music and Dance," and articles on Algeria and the Ouled Naïl in the International Encyclopedia of Dance published by Oxford University Press.

In addition to teaching classes at her Los Angeles studio, Aisha gives lectures/demonstrations at universities such as UCLA and Cornell, and conducts workshops and master classes in North America, Europe, New Zealand and Australia. She is presently editing her latest Egyptian  footage.

 
 

 

Hannan Sultan

Hannan is an instructor and award-winning performer of Middle Eastern Belly Dance. Currently based in Toronto, Ontario, she has delighted audiences all the way from Seattle, Washington to Istanbul, Turkey. As a teacher, she has educated students from coast to coast. During her formative years as a dancer, Hannan undertook intensive training with Aziza of Portland, Oregon. Her movement training includes belly dance, ballet, and yoga. A dedicated artist, Hannan has traveled to Egypt to learn from renowned instructors such as Raqia Hassan, Aida Nour, and Dina.
 
Captivating stage presence, endearing persona, and excellent dance ability make Hannan a highly sought-after entertainer. A versatile performer, Hannan is featured in nightclubs, restaurants, private functions, weddings, festivals, and corporate events.
 
Dance students benefit from Hannan’s excellent dance training and her love for the art of bellydance. Students enjoy a positive atmosphere and high-quality instruction. In Hannan’s classes, the focus is on safe movement, fun, and good technique.
 
In addition to awards won with former troupe members of Banat Al Fez, Magidah Wahab and Aziza, Hannan also holds these titles:
 
2003 Ms. Bellydancer USA:
Bellydancer USA Competition
 
2002 Professional Dancer of the Year:
MED&CA Competition
 

 

Mezdulene

Mezdulene is the owner/publisher/editor of Jareeda and is committed to keeping the tone of Jareeda positive and supportive. She feels that all of Jareeda's readers are important from beginner to super star. She always encourages anyone to submit articles and welcomes any feedback readers might have on Jareeda including ideas for improvement, future articles and other needs of the dance community.

Mezdulene has been dancing for over 20 years and has experienced tremendous personal growth and healing through the dance. The one constant in her life during challenging and painful times, in the past many years, has been the dance and the supportive friends she has made through the dance. She is a performer, instructor, seminar teacher and choreographer and the director of Mystical Oasis Dance Company. She has several instructional videos available.
 

 

Tamalyn Dallal

Tamalyn Dallal  - James Brown feared her sword, Robert De Niro gave her his number, and Sean Connery was inspired to dance with her. Tamalyn Dallal feels equally at home performing for celebrities as well as for school children or community events. She has danced for Madonna, the Jacksons, members of the Saudi Arabian royal families, King Abdullah of Jordan (when he was a prince), and more recently, before Francisco Flores, president of El Salvador. Ms. Dallal has also choreographed and taught for Miami's "Inner City Childrens Touring Dance Co.", and the "Dance Out" program for deaf students. She was part of the original "Belly Dance Superstars", and is featured on the CD and DVD with that name from Ark 21 records (Miles Copeland).

Impassioned with Middle Eastern dance, music, and culture from an early age, Tamalyn Dallal sees belly dance as the ultimate feminine expression. Embracing every womans unique beauty. To her, this dance is ever growing and changing with the world around it, assimilating influences from every culture it touches.

Tamalyn Dallal has bellydanced since 1976 and taught the art of Middle Eastern dance in many parts of the world, including Egypt, Cyprus, Thailand, Singapore, Malaysia, Japan, Hong Kong, Switzerland, Italy, Argentina, Brazil, Colombia, Venezuela, Chile, Bolivia, Curacao, Aruba, Haiti, the Dominican Republic, Puerto Rico, the Bahamas, Honduras, El Salvador, Belize, and throughout the United States. She has a wealth of experience travelling in North Africa, the Middle East, India, and Eastern Europe to further explore the Belly dance and related dance forms. [for full bio click the link]
 

 

Viraj

Dancer: Canadian of Sri Lankan parents grows up in small, northern, mining town of Fort McMurray with Trinidadian father-figure, gets his Bio Sci BSc, becomes competitive sprinter who through many ups and downs becomes the only professional male oriental dancer (bellydancer) between Toronto and Vancouver (Canada) gaining national media coverage in print, radio and tv (multiple Southam newspapers, CBC Radio's Sunday Edition, CHUM group's CareersTV). How did I get here?  The diary is coming.

I teach and perform full-time in Edmonton, Alberta with ambitions of establishing national/international presence. With a sprinting and aerobics instructor background (AFLCA) I designed VO Fitness Bellydance that is only taught at the University of Alberta.  I teach various levels of Egyptian Oriental dance moreso when not so seriously training for international dance festivals/troupe auditions. 

Why I love dance performing: losing oneself in expressive music, creating something beautifully memorable, bringing joy, connecting/sharing despite diversity, and breaking down questionable boundaries. Egyptian raks sharki with jazz/ballet nuance is my dominant proficiency followed by Sri Lankan firestick/classical/folkloric styles.

 

Jasmin Jahal

Jasmin Jahal - It is rare to find a true artist of Egyptian dance, also known as oriental dance or belly dance. When a person of Middle Eastern descent comes across such a unique performer, they instantly appreciate the special treasure they have found in one who has a gift for interpreting the flowing complexity of Egyptian music, rhythms and movement. In Chicago, Jasmin Jahal is the only oriental dancer who has such a gifted reputation. Promoting the art with dignity and beauty, Jasmin Jahal is in world renown. Her performances are in great demand throughout Europe, the Middle East and across the U.S.
 
Having studied with the best Egyptian and Lebanese dance masters, Jasmin Jahal's goal as an instructor of oriental dance is to educate the Western mind to see that authentic Egyptian dance is tasteful, exciting, sensual and artistic. Jasmin instructs local, national and international dance workshops, and teaches weekly bellydance classes throughout the Chicago area and suburbs. She is the founder and artistic director of the Jasmin Jahal School of Dance. 

 

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