What is American Cabaret Bellydance?
The Time and Place of Development

​American Cabaret Style Bellydance (AmCab) was born in the larger cities of the United States during the 1960’s. A product of an influx of immigrants from the East collaborating with Americans who were interested in multiculturalism, this fusion dance style became popular and respected as an art form within the ethnic nightclub scene. ​​
The Name​

​At the time, it was not called American Cabaret Bellydance. It was called Middle Eastern Dance. As it quickly evolved into a fusion style, this term was used interchangeably with "bellydance".

It collected the words “American” and “Cabaret” to indicate that its development transpired in America, in cabarets. The definition of “cabaret” is: “entertainment held in a nightclub or restaurant while the audience eats or drinks at tables.” 
​
The name “bellydance”, technically considered a misnomer, is said to have first been given as a label by French explorers traveling the East in the 1800’s. It was further reinforced by promoter, Sol Bloom when he introduced bellydance to the U.S. for the first time in 1893 at the Chicago World’s Fair.

Because this art form was amassing during an era in the U.S. that was filled with radicalism, including an aspect of feminism that celebrated sensuality, the word “bellydance” was embraced by many of its practitioners in the spirit of owning the risqué implications of the word as a point of sensual empowerment. Several original AmCab dancers chose to keep the name despite the backlash of using the word in certain circles. 

As a second-generation American Cabaret Style Bellydancer, I chose to keep this name for my style as it pinpoints historically significant elements of my dance lineage. The name indicates the region and locations at which this art form originally seeded. However, this environment gave rise to very unique dancers, each with their own style. Because of this, it could be even more accurate to call my style “Ansuya Style Bellydance” and for my students to replace my name with theirs as they come into their own. But I keep the words American and Cabaret so as not to lose track of the source of its origination in my case and, as a sensual feminist, I keep the word Bellydance to standby the concept of empowered sensual expression that this style is known for. 
The Show

​Typically presented in a 20-30 minute six-song show, the bellydance performances at the cabarets could include an invigorating fast opening dance, an alluring veil dance, a sinuous standing dance, a snake-like floor work dance, a percussive drum solo dance, and a high energy finale dance (often a Turkish Karslima). Finger cymbals were played throughout.

This performance became referred to as a “cabaret set” and then later referred to simply as a “cabaret”.

The set itself is now often shortened in length to meet different show demands and is performed in all types of venues.
The Original Venues

Typically filled with exotic decor, ethnic foods, intoxicating aromas, and uniquely dressed staff, the original bellydance cabarets were poised to transport the senses of patrons. The central point of this enchantment would be the shows featuring musicians, singers, and, of course, the dazzling bellydancer!

​The intimate setting gave audiences an up close and personal experience of the shows. This allowed for the subtle energies, movements, facial expressions and emotions of the artists to be to be felt palpably by the audiences. The same was true in reverse. As the artists performed and interacted with their audiences, they received the energy of their clapping, hissing, zaghareeting, and exclamations. They also had a great view of their expressions, further enhancing the performer/ audience connection and influencing the direction of creativity that the artist would take. 

Clapping was not reserved just for the ends of songs or dances, but encouraged to the beat along the way. Hissing was meant to indicate acknowledgment of the prowess of the bellydancer to demonstrate snake like movements. The zaghareet was a loud trill created by placing the tongue behind the upper front teeth and repeatedly making the sound: “la,la,la” at a very fast, high pitch rate to express passion for the show. Other Arabic words such as “Ya Habibi” (translation: “Yes Love”) or “Ya Eini” (translation: “Oh My Eyes”) were often shouted. Any of these affirming behaviors could be offered by audience members, musicians, dancers, or staff at any time during performance. It was quite the party, to say the least! 

The close quarters of the cabaret venue also allowed for great acoustic experience. Often there was a two level stage. The musicians on the back higher narrow level, the dancer on the next deeper level, and the audiences a bit below that. The stages were large enough for the full range of the soloists performance, but small enough to prevent the creative energy from dissipating. 
Temple Talk

​I liken aspects of this environment to what I imagine attending the sacred space of an ancient matrilineal temple in India might be like. One where the temple priestesses might have danced in order to connect with divine energy and expand their consciousness while onlookers would observe in order to also connect and expand their awareness. Such temples have been alluded to in various works attempting to explore the history of bellydance.

They go further to indicate that onlookers and dancers may have interacted sexually, in a from of tantric ritual, in order to achieve full union with Shakti (divine feminine energy). In this context, the priestess may have been revered and supported with offerings of prosperity for her artistic and sensual prowess, giving the meaning behind sensuality and sexuality a very positive spin. It's also been hinted that patriarchal religious forces might have ostracized these priestesses from these temples, leaning on the negative aspects of the definitions of sensuality and sexuality, causing them to possibly travel what is known as the "Romani Trail". If they continued to dance and make love and accept financial support from those they interacted with, it might explain how an early iteration of prostitution transpired and how the dance spread to different regions. It isn't certain, but interesting to contemplate if these dancers interacted with the Ghawazee or Awalim of Egypt who were the inspiration for some of the entertainment in the first cabarets in Egypt, the birthplace of Raks Sharki (Sharqi/ Oriental) dance, a fusion of traditional dances with influences from European ballet and elements of American Hollywood cinema. This "Golden Era' of bellydance for stage and cinema was a springboard for the cabarets in the U.S.

Fast forwarding to these cabarets, the bellydance show did not include sexual physical contact with the audience as in the tantric temple dancer postulation, however the shows were sensual and they were very much about achieving a heightened state of exaltation and euphoria. Physical contact was limited to tipping in the costume and although some flirtation could at times come with this, it was considered a family style activity. 

Sacred space wise, I imagine the proprietor of the cabaret unknowingly or knowingly offering a form of Feng Shui (Asian approach to spacial arrangement in relation to the flow of energy) as they organized the club for best entertainment effects. In this space perhaps the sound healing benefits of music could penetrate artists and audiences. Perhaps brain waves were altered, emotions processed, nervous systems regulated, and chakras activated, generating a flow state for all who entered or participated. 

I also liken the cabaret to a positive “witches circle” in which metaphysical energies could be accessed and explored. 

Many cosmopolitan audiences attending these cabarets considered the shows in these venues to be high level, avant garde entertainment experiences that inspired the senses. As a second-generation bellydancer, with stories handed down from mother to daughter I can tell you that many of the women performing bellydance in these cabarets felt they were tapping into mystical energies and that the environment was collectively vibrating at a different level than most day to day scenarios.

The Flow State

One of the most distinguishing features of the cabaret performance was that it was improvised. Also that it was to live music, many sections of which would also be improvised. The connections made between dancers and musicians as they were both creating from an intuitive flow state, often led to a euphoric energy that encompassed them and the audience alike. This state is sometimes referred to as “Tarab” in Arabic. I personally wonder how close this could come to the concept of "Samadhi" in yoga. The dancer’s capacity to enter into this trance like state of ecstasy while improvising both her movements and finger cymbal work, became a focal point that launched many of them into local stardom, my mother being one. 

The live music hailed from all over the Middle East including, but not limited to, Egypt, Morocco, Turkey , Syria, Lebanon, Armenia, Saudi Arabia, Iran, and also Greek regions, repeating traditional songs and also creating a unique fusion sound. This eastern music, with its quarter-tones, offered the dancer sounds unfamiliar in western music. I feel that working with these tones may contribute to a shift in brain waves especially when paired with chakra activating, potentially kundalini shakti awakening, movements executed within the particularly unique alignment of AmCab posture. ​

The Fusion

​The bellydance cabaret scene was a cross cultural exchange making it an absolute hotbed for inspired fusions. Musicians were coming together from different countries to create a unique sound, dancers were coming together from different countries sharing their moves and their costume designs, and audiences were made up of the melting pot of cultures that big cities feature. Within these clubs a level of camaraderie ensued as the community bonded through the artistic freedom of fusion. For many, this consensual proactive choice to fuse symbolized a way of finding peace across differing cultures. This perspective held great emotional value for those objecting to war at the time (Vietnam) and chose to think of fusion art as a way to bridge cultural differences and transcend political differences. 
The Sexual Revolution

​This was also a time of sexual revolution so, for many women, bellydance represented an opportunity to be re-throned as queen of the domain of her body, to own pleasure in her sensuality and to allow expression of it to gain her economic power and further her independence. 

Similar to accounts of possible bellydancing temple priestesses in matriarchal times past, these women were representing a modern form of goddess. 

AmCab makes space for all styles to exist, giving the power to the performer to source material from anywhere, redefine at will, and especially to unlock their capacity to download inspiration from within. This creates unique dancers, all with their own personality, look, and repertoire. 

From the temples, to the Romani Trail, to the cabarets, AmCab might be the closest style to preserving the theory that Bellydance might have begun as a practice designed for divine connections through sensual goddess empowerment. 
The Spirituality

With everything conformist coming into question by counter-culture enthusiasts, the idea of coming into one’s own spiritual power also held intrigue. Raising consciousness through improvisation became an interesting concept as artists seemed to “download” their creativity from within the flow state. Consequently, the notion that no single culture or person could claim ownership of creativity began to surface, further adding fuel to the fusion fire as artists began to freely and fervently innovate their own works and signature styles.  The better you were at this, the higher your star rose.
The Costuming

Ornately decorated, halter-style bra was cinched high to lengthen view of torso and was paired with belt worn low to further lengthen view of torso and accentuate hips. A “circular skirt” with splits was worn to reveal legs or draped for partial reveal. The skirt panels were often grabbed by the dancer as she was performing and used in the varying wave like patterns of Turkish Romani style skirt dancing during the cabaret finale. Accessories included a headpiece, large earrings, upper and lower arm bracelets, and necklaces. Base materials ranged from chiffons to satins to velvets with decorations including coins or beads or both. Finger cymbals and a 2 1/2 to 3 yard opaque or slightly see through veil were the final touches. The veil was worn to cover body and costume during first dance in order to maintain a level of mystique before slowly unwrapping during second song to reveal the dancer’s form and full costume. Since this art form is one of fusion, costume styles can constantly evolve in the same spirit of honoring the dancer’s intuition and individual inspirations. It’s often adapted for variations in music, show logistics, and trends.
The Lineage

​Many of its pioneers in the United States, including Antoinette Awayshak, Feiruz Aram, Helena Vlahos, Jenaeni Rathor (my mother), and several others, were strong examples of forward-thinking feminists who's shows left audiences dazzled by their seemingly mystical effects. Helena Vlahos is still active and I continue my mother's work as do her top protege's Alexandra King and Aleili. 

I am proud to be part of this lineage. It’s my favorite “Motion Potion” for sensual and spiritual empowerment and I love to share its benefits with my students and audiences! ​
American Cabaret Bellydance Sheros:
Antoinette Awayshak

Antoinette is the first bellydancer my mother ever saw. My mother said: "It was like seeing on the outside everything I had been feeling on the inside."

Both Antoinette and my mother danced at famous Los Angeles cabaret, The Fez. They became best friends and even roommates for a time. 

Antoinette first bellydanced as a natural part of growing up in an Arabic family. It wasn't until The Fez asked her to perform that she became a professional publicly.

I love the fact that an American woman and an Arabian woman navigated this wondrous world together and I'm in awe that their wild sparks of creativity and empowerment led to all the sparkle in my world. 

Antoinette shares that an earlier iteration of the cabaret set was performed at The Fez by Maya Medwa (Egyptian dancer) that included simply three sections: fast, slow, fast. Then Antoinette (hired to be headliner at The Fez) expanded her own show by adding veil and finger cymbals (having learned the rhythms from the drummer). She developed this expanded version with her then partner Najeeb who was an oud player.. It became 5 parts: 
1. opening including fast and slow removal of the veil (Bolero)
2. Shiftitelli (with solo sections by oud, violin, nay)
3. upbeat song
4. debke
5. drum solo with finale.
She was referred to as a “Balady Dancer” versus “Bellydancer”. The show was between 45-50 minutes! Most of these sections are represented musically on The Fez album and are based on Antoinette and Najeeb's creation. She also explained that Bellydancers from the east coast brought floor work to the west coast.
A gorgeous poem offered by Antoinette:
Smoke-filled, dank caves, like theatres of multicolored lights urge me to put expressions on blank faces

Swirling and twirling, as rhythms implore me to reflect dissonant tones, I feel myself transform

No longer physical, a ray of light takes over my soul and thrusts me into a frenzy

Like a moth dancing too close to a flame

​My awareness becomes the universe and I but a beam of light expanding to infinity
​
​~ Antoinette
As I read her poem, it shocks me how much this sounds like Samadhi which I found described beautifully in this blog post excerpt : "During Samadhi, a practitioner may have little to no awareness of the physical body, see light while the eyes are closed, experience an abundance of joy, get a sense of being pulled or drawn into deeper meditation, a progression from a gross experience (readily perceptible) to a subtle experience to finally losing all sense of self, time, and space and a constant pure awareness of oneness with spirit, divine, God, that floods the entire being with bliss."

Amazing resource: 

See performance clips and hear stories from Antoinette, my mother, Jenaeni Rathor, myself, plus many more AmCab Sheros and musicians.
​Available for download HERE
Jenaeni Rathor

My mother had a 30 year performing career performing and teaching in New York and Los Angeles. Known for her exquisite musical interpretation, masterful zill work, and mesmerizing taxims/floorwork, her headlining club engagements in New York included Ali Baba and the Egyptian Gardens. In Los Angeles: The Seventh Veil, the Greek Village, and The Fez. She also described to me a sense of "losing time" when deep in an improvisational state of bellydance.

Along with performing at numerous parties, cultural events and the Renaissance Faire, she also owned and operated two full blown cabaret clubs: Greektown and Chandrika. The latter of which included Bellydance, Indian Dance, and Flamenco and also featured a a dance studio. 

She then settled in the Central California area to raise my brother and me. 

During her time in the Ojai/ Santa Barbara area she produced multiple concerts for which she coached me to perform. My first show as at the age of four. She also trained Alexandra King and Aleili who helped teach me along the way as well. Mama and I then moved to Hawaii where we danced together at Haji Babas Moroccan restaurant.

Following that, we moved to Hollywood where I worked with top Middle Eastern bands at Al Amir and Byblos nightclubs and performed at countless parties. I was then invited to become one of the original members of The Bellydance Superstars Tour and was able to present my knowledge of AmCab in my improvised performances and in my workshops around the globe for decades. Now you can get your full AmCab training via the streaming videos for members of this website, in my Advanced Performance Circle group zoom classes where students learn to create sacred space in which they perform weekly, and at my tropical goddess retreats that expand on the theme of empowered sensuality.

Amazing Resource: 

See full-length improvised cabaret performance sets from this DVD below featuring my mother, Jenaeni Rathor, her protege Alexandra King, and renowned Central California bellydancer Diana Ferrari!

Additional References:

Alexandra King's 1988 "Bellydancer of the Year" performance.
My improvised cabaret show with live musicians at Al Amir Lebanese Supper Club in Los Angeles, CA in the 1990's. Note the AmCab stylings plus fusion influences performed to the Mejance "Mishaal".
One of my improvised cabaret shows to recorded music on tour in Santiago, Chile in 2000's.
More Sheros:
Helena Vlahos
When my mother introduced me to Helena, I was knocked over by her regal beauty, elegance, and goddess-like presence. Read her biography here. It's an education in and of itself on, not just her fascinating story and illustrious career, but the early AmCab scene in general! Along with being a deeply talented dancer, she's known for the captivating trick below!
Feiruz Aram
When I was growing up, I thought Feiruz was like the Tina Turner of bellydance! An absolute force of nature, her performances would hold everyone breathless. I'm lucky that she, along with Alexandra and Aleili, had so much influence on me as, not just a dancer, but as a woman. I much of my strength to them! 
Alexandra King
Alexandra is one of my mother's top proteges and an extremely accomplished performer and teacher of American Cabaret Style Bellydance. She, my mother, and Aleili (below) were the driving forces behind my early development as a bellydancer. 
Read Alexandra's bio & magisterial article:
What Defines the American Cabaret Style 
to tremendously expand your AmCab knowledge even further! 
Aleili
When I was just a baby my mom saw her student Aleili's eyes lock with mine and immediately knew there was a profound connection. On the spot she asked Aleili to be my Godmother and, not only did she accept, she did an amazing job carrying out the task! I owe so much of my current explorations and connections made between yoga and bellydance to seeds planted within me early on by her. Not to mention the general wilding she guided me through to empower me to learn and love my body, mind, soul connection especially by tuning into to the power of nature and the cosmos! Aleili offers us this titillating glimpse into her upcoming book "Tales of Snake Dancer":
“ You will be the Snake Dancer" Jenaeni commanded to me in class. This was just one of many of her many demands! It took many years of courage, effort, and persistence, but I eventually received what feels like a crown of empowerment and purpose in the dance. I was also required to choose an exotic name that defined me. Aleili translates to “a high peak of inspiration; a gathering place”.
She adds that her intention and focus is to continue to be of service to others, empowering and encouraging them to build their self-confidence in order to celebrate their unique expression through bellydance. She says that each time she steps forward into the unknown of bellydance improvisation, she feels a personal healing and a healing on an ancestral level that includes their gratitude and support. She gives credit to Jenaeni for igniting the spark within her to carry the torch forward!

"Thank you for taking the time to read about AmCab Bellydance! It is my lineage, it is my passion, and it is my pleasure to share it with you!" ~ Ansuya

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