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Why the Fuss Over Egyptian Style Music and Oriental Dance?

© Shira

The folk dance which led to Oriental dance (often called "belly dance") has been part of local culture throughout North Africa, the Middle East, and as far east as Iran for centuries. According to research performed by Morocco, oral tradition links it back to ancient times, when it was used as to support childbirth.

Despite the vast reach of the folk dance, the stage performance of it is linked most strongly to Egyptian music, props, and costuming. Persian-Americans that I have spoken to refer to it as "Arabic dance". When I traveled to Turkey, I saw more dancers performing to Arabic music than to Turkish music, and they used such distinctly Egyptian props as canes and candelabra. In North America, by far the most popular presentation of Oriental dance involves use of Egyptian music, props, and styling. If you're somewhat new to the dance scene, you might be wondering why Egyptian music and interpretation have dominated the Oriental dance scene. Here's a bit of background to help you understand.

From Folk Dance To Nightclubs

Before the 19th century, Oriental dance was performed primarily in family-oriented situations. At weddings, circumcisions, bar mitzvahs (yes, Jewish families did it too!), and other occasions, people would get up to dance for the joy of it. Sometimes they would hire a professional dancer for added entertainment. Since these were family occasions, outsiders were rarely given any opportunity to witness it.

During the 1800's, Europeans became fascinated with "the Orient". Writers such as Gustav Flaubert and painters such as Jean-Léon Gérome flocked to the Middle East and North Africa for artistic inspiration. Tourists visited the region to gawk at the exotic people and landscapes. Colonial armies from England and France occupied various countries in the region.

Among these curiosity-seeking Europeans, word quickly spread that the dancers were one of the attractions they shouldn't miss. Whether they enjoyed the dancing or despised it, the exotic appeal of something so very different from their own homeland held a sort of fascination for them. Although previously the local women had danced only for family celebrations and community events, they discovered a new market for their talent: foreigners.

In Cairo, Egypt, the first nightclubs to offer this type of entertainment in a public setting appeared in the 1920's. Similar nightclubs also arose in Beirut, Lebanon. Employment opportunities for musicians and dancers flourished thanks to the demand from foreigners seeking a taste of the exotic local entertainment.

At this time, Turkey was struggling with a cultural revolution brought about by the overthrow of the final Ottoman sultan after World War I. Turkey was preoccupied with transitioning from monarchy to democracy, and from a religion-dominated society to a secular society. Under the leadership of Ataturk, Turkey was dragged away from its historically Oriental culture, and looked westward for its political and cultural leadership. The new government banned men from wearing the fez and women from wearing the veil. The Mevlevi sect of sufis (the whirling dervishes inspired by Rumi) was forbidden. Under these profound societal changes, there was no opportunity for Oriental music and dance in Turkey to follow the precedents set in the Arab world.