Aisha Azar

Dear Janaki,
Are you talking about comparing Lebanese and Turkish? If so, here are my observations. Turkish is, in actuality more delicate in some ways, but that pull to the middle of the body makes it look less so at times. Turks cover space on their toes, while Lebanese, even in heels, tend to be more into their heels as a balance point, or maybe even because of the heels. Turks have periods of doing very much more intricate things with their hands and arms than either Egyptians or Lebanese dancers. Many Turks, when dancing really deeply folkloric Turkish influenced belly dance instead of mimicing Egyptians, tend to have this sort of more viscerally, openly sexual core feeling to what they are doing.
I hope this helps,
Regards,
A;isha

Aziyade

You really have to separate 1960-1970s and early 80s Turkish from modern Turkish, because the music they seem to want to use is different, and the dancers appear to have different influences. One of the complaints about Turkish dancers today is that they aren't showing their "roots" -- not using Turkish music, not using Turkish folk footwork, not really nodding at all to Turkish music/dance of the past, and instead looking to modern Egyptian dancers as their inspirations.

(Of course, the COMPLAINTS about this come from older people, who liked the old style and miss it.) I know two women who have traveled to Turkey to study with a supposedly famous dancer there now, and they dance to "Turkified" Egyptian music, if that makes any sense. Not pop, but classic Egyptian songs, but played by Turkish musicians.


Hyperflexibility isn't a huge hairy big deal at your age, if you MAKE SURE to do strength training so you strengthen the muscles around your joints. We used to see it a lot in little ballet students, and although they were super flexible, they were super weak. The weakness can lead to dislocations and joint paint, if you don't really WORK to build up strength around the problem joints. Talk to a trainer or a PT about it, and see what they recommend as far as exercise. If you have muscle problems you may have created an imbalance somewhere, and will need to strengthen a different set of muscles.

Brea

Hi,

Well I do have a former injury, and have been weightlifting again to try and correct it (though it appears that this might not be the right thing to do). I've always been flexible at every weight (hence those deep backbends that I do)...but I am a bit concerned that fluidity might equal pain for exactly the reasons you describe.

I'd say, thinking about it, that I dance more on my toes and there is a definite sexuality to my dancing...in a flirty way of course, not stripping, but as I have said before people tell me that there's something about the way I dance that feels like 'boom!' when I go onstage. So I don't know what style that is most like, but it almost sounds like Turkish is more similar (which is bizarre, because as A'isha said, my original teacher was from Jordan). I've had other teachers over the years, however, so perhaps I've picked other things up from them. I'd just like to be able to say I am a *blank* bellydancer, if at all possible.

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Aziyade

Just go with "belly dancer" and keep it style nonspecific. You might not want to be married to any certain style. When I find some super awesome Turkish music, I dance "in a Turkish style" or probably more accurately "with Turkish flavor." My Egyptian is never going to be 100% Egyptian because that's not me. I have since decided I don't HAVE to be mistaken for Dina in order to be a good dancer

I hedged my bets once and called myself on my business card "Oriental Dance" artist. I think when I redo them I'm going to have it read Middle Eastern "Belly Dance" Artist. with bd in quotes. Or "Oriental Belly Dance" or something.

There was some discussion on Bhuz a while back about the so-called "Pan-Arabic" style of dance -- which would encompass Jordanian and Syrian teachers. I don't think we use those terms anymore though.

That big and dramatic dance is now being referred to by dancers as Lebanese style -- accurately or not. So you will hear people refer to Jillina as a Lebanese style dancer, which I disagree with, but it's what people keep saying. I think of Jillina and Aziza and Saida as the new/modern American Oriental belly dance. Since nobody does Am Cab (classic) anymore, I think this is a better descriptor.

Brea

I like the term 'Pan-Arabic'. That makes sense to me, just because we are not all going to be the pure strain of anything if we continue to learn from different teachers.

I don't see a lot of similarity between my style and Jillina's. I am more of an undulator than a shimmier (if those are even words).

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Aziyade

What I want to know is:

Who are we supposed to watch to get a good sense of what is Lebanese style?

People say Amani is different and atypical. She does her own thing.
People say Nadia Gamal is different and atypical, again doing her own thing.
Footage of Dani Boustrous is next to nonexistent.

That's it for Lebanese style dancers I can think of. Other than the Al Bab Ya Shabab dvds, and I really don't think the dancing on those is exactly top notch. Or am I just not getting it?

Who SHOULD I be watching to understand Lebanese style today?


Thank you!

Aisha Azar

Dear Aziyade,

Mark_Balahadia

There is some footage of Dani Boutrous floating around but not much. Most of the dancers you see coming from Lebanon nowadays (with the exception of Suha) are pretty mediocre in quality. Nabila was good, although she incorporated a lot of foreign elements.

Just like Egyptian style, each dancer is a little different...some being better than others and each having their own unique "signature moves" etc.

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badde 3eish!!! www.markbalahadia.com

Marya

Personality (or soul or spirt or whatever you want to call it) has a lot to do with what one's style will be. Letting your personality shine through, or at least not trying to disguise it, is one of the "secrets" of being a good dancer. I feel like I can get an "instant read" on what kind of person someone is by watching them dance. Dancers who try to focus on technique and less on expression are missing out on the key to being a fabulous dancer.

The "boom" is your personality, and is yours alone and is vital to you as a dancer. Personality can adapt to any style, but there will be one style that fits you better. Even if someone tries to have a "pure' style, who you are as a person will make it unique (as Mark pointed out).

To me, learning this was the turning point to being a solo improvisational dancer. Being in a troupe requires one to dampen down the personal expression and it took me more than a year to allow my inner self to become part of the dance.

I also feel that dance allows certain parts of ones' self to shine through that might not get an opportunity to do so otherwise, which is another reason that dance can be a healing process.

I meant to say this earlier: for Lebanese technique, Meissoun of Switzerland has an excellent instructional video. Her personal style is not as outward as Lebanese dancers I have seen on videos but her technique was learned from Lebanese dancers and she has broken it down with lots of explanation and the video has several language tracks on it (French, German, English, Spanish and Esperanto I think) She offers several tips on what makes the style distinct.

Marya

Aziyade

A'isha -- Thanks -- I'll check out Nabila! I think she might be on one of the Cocktail videos I have.

Mark -- They mentioned Suha on Bhuz, and people who have studied with her say her style is very much like "Golden age" Egyptian Raqs Sharqi. From her comments on Tribe, I would agree with that as an initial assessment.

Some posters on Bhuz mentioned that Lebanese style NOW (as opposed to Lebanese style several years ago) is rather different. Apparently a while back, "Old school" Lebanese looked more like Egyptian Raqs Sharqi, and has since drifted away from that look and evolved into a unique look of its own. Would you agree with that statement?

Thanks gang!!