The Urban Dictionary describes this month’s Hipspiration “Va Va Voom,” not only as the sound of a car engine, but the following:

1.  The feeling you get when you're filled with inspiration or full of excitement and energy

2.  To be interesting, exciting, or sexually appealing

3.  A phrase or expression used when a particularly attractive person is seen

As Arabic Dancers, I ask myself, what makes us go “Va Va Voom”?  What excites us and upon sight makes us shout, “Ooh la la!”? After reflection, I’m overwhelmed with a plethora of answers.  While I believe there are several inspiring, energizing, sensual, and interesting elements of the dance, let us pause in April to reflect on the Arabic Dance costume.

The “bedlah” is used to describe the sequined bra and belt set that we traditionally see on classic cabaret performers and dancers today.  In Arabic, “bedlah” means suit or outfit.

Before the bedlah, dancers were accustomed to performing in their everyday dress.  Classic dancers such as Suhair Zaki preferred the figure-hugging baladi dress, which covered the body from shoulders to toes.  What’s fascinating is that the cabaret costume featuring the decorated bra, skirt with side slits, and belt developed from the influence of the Western world in the 1920s.  Hollywood’s film industry was booming and developed costumes projecting an Oriental fantasy drawing inspiration from the female allure that was associated with the vamp.  Dancers in Egypt we’re not even allowed to show their bellybuttons as the Western world’s costume depicted. Arab dancers adopted the costume, but covered their mid-drift by adding a long strip of material running vertically between the center of the bra and the skirt.

From this birth of the bedlah, the cabaret costume has evolved. Through the years we have seen a variety of costume fads, from Negwa Fouad’s long fringe in 1978 to Dina’s short skirts in the 1980s.  Today we see prints, asymmetrical cups, clear straps, feathers and more trending fashions.  Cairo’s dancers now also wear stylish and classy dresses similar to the party clothing of Arab people, only with more sequins and beads.  Ironically, this mimics the pre-bedlah dresses that Arabic dancers were wearing before the cabaret costume developed!

When deciding what costume to wear, there are many things to consider.  Does it match the piece of music?  Does it fit right? Will it stay on and endure heavy shimmying, pops, locks and rolls?  Is it appropriate for the venue?  Does it accentuate the dance or inhibit it? The list goes on. Perhaps one of the most important questions to ask yourself ladies is, “Does this costume make me feel Va-va-voom?”  Rock something that suits you, and that makes you feel completely gorgeous daaaa’ling.  Don’t worry about looking like anyone else or fitting someone else’s ideal.  Life is just too short not to feel absolutely stunning.


Recommended reading:

“Costume Porn… The latest trends in Egyptian Belly Dance Wear”

http://princessraqs.blogspot.com/2011/08/costume-pornthe-latest-trends-in.html

Works Sited

Buonaventura, W. (2010). Serpent of the Nile. Northampton, MA: Interlink. 

Dictionary: Va va voom. (2012, November 28). Retrieved March 27, 2013, from 
     http://www.urbandictionary.com/define.php?term=va%20va%20voom 

Varga Dinicu, M. C. (2011). You asked Aunt Rocky: Answers and Advice about Raqs 
     Sharqi and Raqs Shaabi. Virfinia Beach, VI: RDI. 

Badiaa Masabni, a true wonder woman of her day, was a dancer, singer, actress, and entrepreneur.  This quadruple threat was born in 1892 to a Lebanese father and a Syrian mother in Beirut, and was a pioneer in Arabic Dance’s evolution as a performance art.  

In 1926, Badiaa opened up Egypt’s first music hall in Cairo.  The nightclub was called “Opera Casino” and offered a variety of entertainment to attract both European and Middle Eastern audiences.   Baidiaa also offered a 6 o’clock show for only women that was packed every night.  Badiaa hired artists from Egypt, but also from Sudan and Europe.  Her choreographers came from out of the country and her stage shows had a strong foreign influence.  It was this fusion of multiculturalism that gave today’s Raqs al Sharqui (Dance of the East) its’ glamorous stage-show start.  It was on Badiaa’s stage that stars such as Samia Gamal, Tahiya Karioka, and Naima Akef were born. 

In addition to taking Arabic Dance to the stage, Badiaa Masabni influenced the style of the dance as a performance art.  Originally performers would stand in one spot, and the upper body and arms did not play a particular role in the movement.  Badiaa incorporated the Western idea of traveling around the entire stage and exploring the use of space. She encouraged dancers not only to hold their arms out to the sides, but also to use serpentine, flowing patterns of arm movement.  Badiaa introduced the use of the veil and taught choreography to traditionally improvisational dancers. 

Badiaa also had a strong understanding of Middle Eastern music.  She loved to play finger cymbals and would sit with the band to play for the dancers in her nightclub.  This led to the now common ritual of hiring a musician dedicated to playing just zils as part of the ensemble.  Badiaa also hired classically trained musicians to join the traditional line-up of riqq (tambourine), zurna (winded instrument), and tabla (Egyptian drum) players.   The taqsim (improvisational solo) could be explored and more intricate rhythms we’re introduced to the dancers at her club.

Badiaa Masabni passed away in 1970.  She was a true feminine character with the strength of Superman and the allure of a beautiful woman.  Her innovative and artistic eye was well paired with her business-smart intuition.  Badiaa’s influence brought Arabic Dance to the stage and her impact on the style of Raqs al Sharqui is seen today worldwide. Badiaa Masabni will forever remain a pioneer in this performance art that will be embraced for years to come.

Ziva Emtiyaz loves being inspired by the Wonder Women of the world.  Explore your inner and outer strength on the dance floor with Ziva in Arabic Dance II, Shimmy Pop, and Shimmy Pop Toning at Hipline.  Reach out to Ziva at ziva@myhipline.com and www.zivadancer.com .

Works Sited

Badia Masabni. (n.d.). Retrieved February 27, 2013, from 
     http://www.belly-dance.org/badia-masabni.html 

Buonaventura, W. (2010). Serpent of the Nile. Northampton, MA: Interlink. 

Richards, T. (Ed.). (2000). The Belly Dance Book. Concord, CA: Backbeat.

They say the heart is fickle.  If you really love someone, you will feel it in your gut.  In the West, we often think of the heart as the body’s center of romance.  In several Middle Eastern countries, it is the liver that is believed to be passion’s organ.  The Roman physician Galen developed the notion that the heart and the liver are sources of love over 1,000 years ago.   One of the first great Arab-Muslim scientists, Al Razi, perpetuated Galen’s theory about the liver, and it spread across the Middle East into Egypt.

The Arabic word for liver is pronounced “kabed”.  It is frequently used in Egyptian poetry and song lyrics to express love.  The classic song “Eina Ellayali” shares a good example of how the liver embodies emotion.  Translated into English, the lyrics say, “An eye’s glance sent a spear to my liver and created pain.” 

Often you will see a performing Egyptian dancer gesture her hands as if she were holding onto her liver. She is expressing that she feels the song or the lyrics from this organ of passion.  It’s just as if an American dancer were to hold onto her heart.

In this month of love, why not dance from your liver ladies?  Share your deepest passions on the dance floor and feel it from you gut.  Tap in, and be moved.  What is your “kabed” telling you today?

Ziva holds Arabic Dance in her liver and can’t wait to share her passion for the art form with you!  Join her on the dance floor in Shimmy Pop, Shimmy Pop Toning, and Arabic Dance II.  You can find out more about Ziva and Arabic Dance at www.zivadancer.com 

Resources:  http://suite101.com/article/valentines-could-easily-have-been-livers-instead-of-hearts-a330899

Konichiwa!  I’m writing from the depths of Japan as I tour with Lebanese Master Percussionist Souhail Kaspar.  We are currently halfway though a full itinerary of teaching and performing in 5 Japanese cities.  While I know that the remaining 12 days of our tour will bring plenty of experiences and adventure, I’d like to share what I’ve learned so far as a traveling dance artist.

1.  Nice Luggage is Worth the Investment!

I’m only halfway through our trip and I’ve taken six planes, four trains, and plenty of taxis.  Durable, lightweight, east-to-transport, luggage is a must have!  Don’t over pack your suitcase as you’ll want to be able to transfer it easily and may want to bring home a few souvenirs.

2.  The Language of Human Movement.

When you travel to countries with a language barrier, knowing native words like “hello”, “thank you” and, in my case, “vegetarian” are vital.  Beyond words, facial expressions and hand gestures will communicate a lot.

I realize that when I teach dance workshops in Japan, my playful words like “juicy” and “big mamma hips” may be lost in translation.  Instead of worrying about students understanding the literal meaning of my diction, I dance out my words and use an expressive tone of voice.

One of my most comforting and magical experiences traveling in Japan has been witnessing the universal language of dance.  The same shimmy that is recognized in Berkeley is recognized in Tokyo and Cairo and possibly worldwide.  The fact that I have the opportunity as an American dancer to share my love for Middle Eastern dance with an Asian country shows the widespread passion and strength lying behind Raqs al Sharqui.  Music and movement can truly unite cultures.

3.  Be Prepared for Anything

The art of improvisation is a must have tool in dance and in life.  Any teacher knows that his or her lesson plan may need to be instantly altered to adapt to the level of the current student.  For this tour, I prepared 5 choreographies and a variety of theory exercises knowing that each city would have it’s own requests and needs.

I believe that a dance artist should consistently work on all elements of her craft.   She should practice and study her art even when there may be no specific upcoming project.  This will only help with easing into an on-the-spot situation and nailing a surprise opportunity.

4.  Rest Up Buttercup!

Sleep when you can! It’s a great idea to rest up even before your trip.   A dancer depends on her physical and mental energy so it’s important that she gets adequate down time.  Often a busy tour schedule will permit limited windows for resting.  Take advantage of them.  You’re email or whatever is keeping you up late at night will be there in the morning.  Get those Zzzz’s when you can!  Also, taking multi-vitamins and eating nutritious meals along the way will keep you healthy and strong.

5. Give it Your All

This may go without saying, but it’s good to remember that one opportunity often leads to another.  You never know who will be watching.

I was invited by Souhail Kaspar to do this tour because 4 years ago I gave it my all as a workshop student in one of his Rhythm and Movement classes.  Since that workshop, I’ve taken every opportunity possible to learn from Souhail’s mastery as a teacher, entertainer, world traveler, and percussionist.  I’m so grateful for each moment that I’ve been presented with to grow.  Treat each opportunity as a gift; you never know when you’ll be presented with another one.