In dance, the most important part of your body may be your head but without your feet you wouldn’t be able to perform. What you do and do not put on your feet is very important.

When I learned to belly dance, I danced in heels. My instructors were cabaret club performers who regularly danced in heels and urged their students to do the same.

Heels have the advantage of automatically lifting the hip. This makes belly dance moves more pronounced and easier to perform. However, they also require a great deal of balance. On occasion, especially during a cabaret performance with a questionable floor

(like in a restaurant or party center where food and beverages are served and often spilled) I will wear ballroom shoes. Ballroom shoes are purely for dancing indoors. These are not street shoes as the soles are a fine, delicate suede. This affords flexibility of the sole for dancing. The shoes are often dressy with straps that keep the shoe on the foot during dance moves. They are pretty and practical but also expensive. Prices begin at around $50 and can go into the hundreds. They also have a limited lifespan depending on use. Heel height is from 2-inches to 3-inches. I prefer the 2 ½-inch height in a neutral shade to match any costume.  Before purchasing it is best to try on the shoes and try some common dance moves. Select what is comfortable for you. You must be comfortable and confident when dancing.

These days, most belly dancers prefer to dance barefoot because they feel it is more authentic. The feet also feel more grounded to the earth and the earth becomes one with the dancer. However, most dancers rise to their tiptoes to elongate the hip and to accent hip moves.  Though bare feet are more natural, exposing the foot can create many dangers.  Depending on where you dance, conditions may not be conducive to bare feet.

Concrete, grass with possible rocks and pebbles, dirty floors may not be something you wish to subject your feet to. For example, when I was in Egypt, Dina the famous dancer was performing on a carpeted stage. One would expect a carpeted stage to be safe, right? Wrong. She stopped mid-performance in pain. She bent to remove a shard of glass from her foot. Being the trooper that she is, she continued to dance. If it could happen to her, it can happen to anyone. A dancer can get seriously injured.

To combat accidents, there are alternatives to bare feet that create the natural appearance while protecting the foot.  I love Capezio's  Full Foot Undies.  They are lightweight, snug, flexible with split suede soles and allow the toes to be free. They protect the foot from debris while allowing the toes to be free and flexible. I wear these to instruct and perform, even on grass. They match your complexion and come in various skin tones.  I also like suede half-sole lyrical sandals. They match the foot, keep the heel bare but protect the delicate arch of the foot.  They match any style of costume and are snug enough to the foot to allow for natural movement. I would not wear either of these on concrete, asphalt or in questionable environments.

Many dancers prefer the Hermes sandal. These are neutral-color delicate leather  gladiator-style sandals that tie up the calf. They have an ancient Roman look that lends itself to Middle Eastern costuming. Though many dancers swear by them, I find the ties bothersome. 

For performing, many dancers like Capezio's Pedini, a soft, split sole shoe with a slight heel. It is flexible, dressy and protects the foot. 

For instructing and for workshops, I often wear soft ballet slippers, if I don't want my toes exposed.These are of soft leather with an elastic strap across the instep for support. Mine have a whole sole of suede. Some dancers prefer the half-sole for additional flexibility. Ballet slippers can also be found in a less expensive canvas. Though I wear ballet slippers, I do find them a bit restricting. Toes tend to be constricted. Yet, they do protect the feet from questionable floors. Capezio has a new product, the Freeform split sole shoe that is like a jazz shoe/ballet slipper alternative that comes in flesh tones.  It also protects the entire foot, covering the toes.

A less expensive alternative is to wear Isotoner slippers. They come in neutrals, gold and silver and other fashionable colors. They are comfortable and stay on the feet. I do find that sewing elastic across he instep adds support and prevents slippage.

Students often wear socks to class. They protect the feet but can be slippery on wood and tile floors. Better than barefoot in most cases, though. Some find that slipper socks with treads work better.

Only you can determine what footwear is comfortable and desirable. Try out different types. When you dance you want to be comfortable and confident.

Remember, as the Chinese proverb states, “A journey of a thousand miles begins with a single step.”

Disclaimer: I do not work for Capezio nor am I profiting from them. I am only using the photograph of the box their product comes in to promote my favorite dance shoe. Purely a personal opinion. 

As children, we loved to play “dress up.”  Role playing and fantasy were an integral part of growing up.  All of it was preparation for our adult lives  As adults, we so often lose our sense of “make believe” and “play.” 

Part of the joy of Middle Eastern belly dance is the opportunity to “let go” and become an alternate form of ourselves. With our personas come new names, personalities and wardrobes.

Most dancers select a  “dance name,” often a more exotic version of their own name or a name whose meaning suits their personality. This moniker is often selected from the Middle East where interesting Arabic names  abound.

Dance attire creates the dance image you would like to project. Are you a Cabaret dancer? Tribal? Fusion? A Gypsy? 

Clothing can enhance your dance yet can also detract. Selecting the right costume for your body type, image and audience is as important as your dance ability.

In the Beginning …

Okay, you signed up for your first belly dance class. Now what do you wear? 
     
One important thing to remember is that this is not aerobics class at the gym. Though some instructors may beg to differ, I ban tennis shoes from class. Belly dance is an earth dance and, thus, the feet should be grounded to the earth … in our case, the floor. To this end, barefoot is best but impractical. Floors can be dirty, sticky and germy. Soft leather ballet slippers work well. My favorite are Capezio's full foot undies that protect the feet but free the toes.  If cost is a factor, canvas ballet slippers are good as are ballet-style bedroom slippers (an elastic band can be sewn across the instep to keep them securely on the feet). Slipper socks and socks work well, too (though socks can be a bit slippery on certain floors).  Though I learned to dance in heels and ballroom shoes are often worn in performances, I prefer students learn first flat-footed. When the dance originated, women danced barefoot or in flat sandals.

Clothing choices can vary and students do tend to get creative as the classes progress. For the dance, clothes should be loose or stretchy. Blue jeans are too tight in most cases and hinder movement. Preferred  “waistline” should be at the hip. An unhindered midriff works best for hip-awareness and better movement. Jog pants can work but yoga pants are best. A flared gypsy-style skirt can also be worn, as can harem-style pants. In the beginning, simple is better. There will be plenty of time for “dress-up” once you master the movements.

How to top it off? A simple tee shirt is fine. Sports bras work, too. Indian choli tops are also a good choice. Most new students cover their midriffs, though by the fourth class, most will begin to bare them. I use elastic hair twisties to knot tee shirts and tops at the midriff.  Please, no coin and beaded bras in class. Save them for the stage.

Hips don’t lie but can be accentuated. To become  “hip aware,” it helps to have something tied about the hips. This can be as simple as long scarf or elaborate as a fringed shawl or beaded and/or coined hip belt.

To be prepared, having a veil helps. Most instructors have a limited number of loaner veils. A veil is a piece of chiffon fabric (please, do not use organza) fabric about 45-inches wide and 2 ½ - 3 yards long.  Check out the remnant section at the fabric store or use discount coupons found in the Sunday newspaper. Fabric comes in many colors, color variations and may have glitter or design patterns. Make sure to test the fabric first before purchasing. Rub the fabric against your clothing and hair to make sure it doesn’t cling. If it clings, make another choice. Check the fabric’s weight by tossing it in the air. It should flow gracefully. Avoid hard and stiff fabrics. Silk can work but is not my choice for a beginner learning veilwork. Silk can be a bit heavy to work with for a beginner. If budget is a problem, I’ve had students use a sheer drapery panel they purchased on sale. Some students will use a cotton sarong, though not recommended as to its weight and smaller size.

You may also want to own a pair of zills (finger cymbals) for class. As with veils, most instructors have few to lend. Beginner sets can be found in dance kits available in bookstores and gift shops. These zills are often of thin metal and, though good for practice, tend to sound rather “tinny” and unpleasant to the ear. A nice set of zills can be purchased reasonably from a manufacturer like Soroyan or Turquoise. You want a nice, weighted brass with elastic you can adjust to fit your fingers. We will cover zills more completely in a future post.

The most important item you should bring to class?  A smile.

Where to Shop …

Where do you buy beaded and coined hip scarves and all of those other cute belly dance  accessories? Locally and on the Internet. The Internet may be less expensive but do be aware of shipping fees. 

There are many sources for belly dance wear. Some can be found in your own “backyard.” Being a tactile person, I like to touch the fabric and quality of things before I buy. Yet, with a reliable supplier, one can purchase based on a photograph and description.

When purchasing belly dance wear, be aware that quality differs and is not just based on price. In buying beaded and coined hip scarves, understand that the more involved the workmanship, the more coins and beadwork and the weight of the belt determine the piece’s quality. I find that the better hip scarves come from Egypt, the lesser from India. Just my personal opinion, though I own both. Be aware of added on shipping and handling charges when purchasing items on line. Sometimes these charges cost more than the item and often make the “cheap” price not so reasonable. There are many reliable on line sources but when buying from E-Bay and the like, it’s “buyer beware.” Research and think before you buy. 

The veil was originally used to protect the face from wind and sand in the desert. The veil is still an integral part of Muslim culture. It is also part of the mystery on Middle Eastern belly dance and plays an important role in the American Cabaret style.

Veils have played and integral role Middle Eastern dance from the beginning of this art form. From Solome and the infamous “dance of the seven veils,” to modern times. Historians differ as the origins of the veil in dance. Some say it is unrelated to Muslim culture and that Solome was a myth. The use of the veil, though, can be documented to the 20th Century as a dance prop. Widespread use of the veil began in the 1950’s and 1960’s as a way to capture the attention of audiences. Veil technique evolved from there.

The veil plays a major role in the American cabaret style of dance where the dancer “unveils,” revealing her beaded and bangle costume. This “unveiling” is not to be confused with stripping.  The dancer enters with the veil draped about her, covering her costume. As the music commences, she slowly removes the veil, using various techniques, dance movements and trurns. The veil is a prop used to accent the dance and add to its mystery. It adds a soft, sensuous mood to the dance, in contrast to the rapid hip-gyrating aspects of a dance routine. As the slow music ends, the veil is discarded and the dancer continues her routine “unveiled.”

Veil work is generally performed to slow music. The veil is used to highlight and emphasize dance movements/technique. The veil flows continuously and seamlessly from one movement to the next, rarely touching the floor. It swirls about the dance and floats in the air.

Veils may come in various styles and fabrics. A dance veil is usually 3 yards of lightweight chiffon fabric, 45-inches wide. It can be smaller for a petite dancer or larger for a taller dancer. Personal preference may also play a role as to size. Chiffon offers an ethereal look. Silk can be lovely as well but is not as sheer and is heavier to work with. Heavy fabrics like organza or any fabric that clings should be avoided.  A dancing veil should be easy to “play with.” Most cabaret costumes come with a matching veil. Additional veils can be easily made from fabric or even curtain panels (to be covered in a future article). Multiple veils and unique styles of veils may be used during the dance as well.

Some veils are ornately decorated and may be smaller in size and heavier in weight. These are often used for effect. In Egypt, the veil is used as an entrance prop, used sparingly and discarded quickly. Thus, the veil may be showy to make a statement. The idea of entering with a veil began in Egypt in the 1930’s by famed dancer Samya Gamal and copied ever since.*

In the Gypsy style of dance the veil may not be a veil at all. Fringed shawls are utilized in much the same way, with drama, accenting the dance and adding interest.

The popular prop of Wings of Isis may also be used as a veil of sorts, though a separate prop.

Veils are a fun form of expression in Middle Eastern dance. Veils add variety to the dance routine while entrancing the audience. They can also keep the sand out of your face!

Music is the foundation of Middle Eastern belly dance. Without its distinctive rhythms and drum beats, the dance as we know it would cease to exist. However, do you know the individual instruments used to create the Middle Eastern “sound?”

Though many dancers incorporate full orchestras with well-known musical instruments like violins in their repertoire, purists are aware of the ancient Arabic instruments.

Qanun

The Qanun is a very popular stringed instrument used in Arabic music. It is related to the zither and is a descendant of the Egyptian harp.  It is recognized by its narrow trapezoidal soundboard and is set on the lap for playing. Strings (the Turkish style has 26 course of strings, 3 strings per course) are of gut or nylon and not metal. They are plucked or stoked, depending on the desired sound. Stroking gives a more flowing sound. The musician uses small bone quills attached to the index fingers with metal rings. Pitch can be raised or lowered through the use of levers.

Santur (Santir)

The Santur is a hammer dulcimer, known as the “Persian dulcimer.” Smaller that the qanun, it is a long-necked, 3-stringed lute. Leather bands are used for tuning. It’s played by striking the strings with wooden mallets (hammers).

Ud  (Oud)

Probably the most well-known and oldest (dating back over 5,000 years) of Arabic instruments for its rich, mellow sound. It is related to the lute, lyre and harp. A guitar-like stringed instrument, it features a large pear-shaped belly, short fingerboard and a head with wooden pegs for tuning.  It is played with an Eagle feather in Persia or with bone or plastic (plectrum/barbat) in other Arabic cultures.

Saz

Though it originated in West Asia, the Saz is popular in Iran and especially in Turkey. This chordophone, long-necked lute, is the most important instrument in Turkish folk music. It has a pear-shaped belly with a long fingerboard with tuning pegs at the head and is plucked  with a plectrum.

Bouzoukee

Another lute-like instrument found in Greece and similar to the Ud and Saz. It is similar to a mandolin but has a lower pitch. Its pear-shaped belly is often inlaid with mother-of-pearl. Depedning on the type, there are varied string configurations. It is also played with a plectrum and known for its rich tone and resonance. 

Nay

The Nay is basically a flute created from a long piece of cane. With a metal mouthpiece, it has six finger holes in front and one in back. With its haunting sound, it has been made famous by snake charmers and dancers prefer it for slow, sensuous, snake-like taxsim.

Doumbek (Doumbeki)

The Doumbek is a type of drum (tabla) is probably the most important and most prominent in Arabic music. It is the heartbeat of Middle Eastern dance, keeping the rhythm and tempo. It is a goblet-shaped, hand-held drum molded from clay, metal or carved wood. The top/head is larger than the open bottom and is fitted with shark or goat skin.