BACKGROUND
The advent of belly dance in the US began during the immigration of Arabs, Turks and Greeks from the Middle East to the United States at the turn-of-the twentieth century. As with all diasporas, they settled into neighborhoods in big cities where many opened cafés or small grocery stores. Families enjoyed mahrajans (picnics) and evenings at taverns where they played music and danced. Dance and music then were not forms of entertainment, but rather forms of recreation, and these were not professionals – just folks enjoying the cultures of their homes.
The majority of this diaspora was from the Aegean area – Greece and Turkey – and fewer Arabs were in the mix. When folks got together to party, there was a multi-cultural blend of Middle Eastern music, and when actual bands eventually formed to play professionally in taverns and on records, this mix of musical genres eventually became known as AMERABA – American-Arab music. Professor Anne Rasmussen of William and Mary College has made a CD of this music which is excellent! (Anne Rasmussen recordings of AMERABA)
FROM FOLK DANCE TO PROFESSIONAL DANCE
In Los Angeles, during the 60’s and 70’s there was a proliferation of Middle Eastern clubs, including Greek and Arabic, that featured music and dance – folk dance and belly dance. The first club was a place called Hershaway’s 1001. It did not last long and was replaced by the famous Fez which lasted until the 80’s. Because it was difficult to find musicians who were all from the same country, the club musicians were usually a mix of Armenian, Greek, Turkish, Syrian or Egyptian. This multi-cultural fusion of all Middle Eastern music, called AMERABA, laid down the foundation of the American Cabaret Belly Dance.
The first professional dancers appeared in the late 1950’s, and these were often girls from Algeria or Turkey. Eventually American girls, enamored by the style, began to learn (by osmosis -as there were no “teachers”) by watching the Middle Eastern girls. Because the music was a multicultural fusion, the dancers learned many musical genres and folk dances. Dancers did folk dances in the clubs after their sets. Almost all dancers knew the Debke, as well as Greek and Turkish folk dances.
The majority of this diaspora was from the Aegean area – Greece and Turkey – and fewer Arabs were in the mix. When folks got together to party, there was a multi-cultural blend of Middle Eastern music, and when actual bands eventually formed to play professionally in taverns and on records, this mix of musical genres eventually became known as AMERABA – American-Arab music. Professor Anne Rasmussen of William and Mary College has made a CD of this music which is excellent! (Anne Rasmussen recordings of AMERABA)
FROM FOLK DANCE TO PROFESSIONAL DANCE
In Los Angeles, during the 60’s and 70’s there was a proliferation of Middle Eastern clubs, including Greek and Arabic, that featured music and dance – folk dance and belly dance. The first club was a place called Hershaway’s 1001. It did not last long and was replaced by the famous Fez which lasted until the 80’s. Because it was difficult to find musicians who were all from the same country, the club musicians were usually a mix of Armenian, Greek, Turkish, Syrian or Egyptian. This multi-cultural fusion of all Middle Eastern music, called AMERABA, laid down the foundation of the American Cabaret Belly Dance.
The first professional dancers appeared in the late 1950’s, and these were often girls from Algeria or Turkey. Eventually American girls, enamored by the style, began to learn (by osmosis -as there were no “teachers”) by watching the Middle Eastern girls. Because the music was a multicultural fusion, the dancers learned many musical genres and folk dances. Dancers did folk dances in the clubs after their sets. Almost all dancers knew the Debke, as well as Greek and Turkish folk dances.
Performing Debke with Sumaila and a guest at Dar Magrab restaurant in Zuma Beach, CA.
THE AMERICAN CABARET SET IS BORN
Floor shows in clubs in the 60’s, & 70’s were grand and professional. There was an MC and a stage with space for the musicians and the dancer and dressing rooms! Since dancers were in small supply, they usually made good money!
The eastern mind has a much greater attention span, unlike the western counterpart, so Middle Eastern audiences expected long shows and club owners expected long dance sets, often lasting up to an hour. This forced the dancers to throw in as much as they could to fill the time, leading to a fusion of Middle Eastern dances such as Raks al-na’is, (the Saudi hair dance), the Turkish candle dance (a wedding processional dance) and Raks Ardha, (sword dance). So, American Belly dance was actually a hybrid of a variety of Middle Eastern cultures and the American cabaret became the first fusion style of belly dance. This was a fusion of many Middle Eastern styles, not eastern and western music as it is today in Tribal Fusion, for example.
Floor shows in clubs in the 60’s, & 70’s were grand and professional. There was an MC and a stage with space for the musicians and the dancer and dressing rooms! Since dancers were in small supply, they usually made good money!
The eastern mind has a much greater attention span, unlike the western counterpart, so Middle Eastern audiences expected long shows and club owners expected long dance sets, often lasting up to an hour. This forced the dancers to throw in as much as they could to fill the time, leading to a fusion of Middle Eastern dances such as Raks al-na’is, (the Saudi hair dance), the Turkish candle dance (a wedding processional dance) and Raks Ardha, (sword dance). So, American Belly dance was actually a hybrid of a variety of Middle Eastern cultures and the American cabaret became the first fusion style of belly dance. This was a fusion of many Middle Eastern styles, not eastern and western music as it is today in Tribal Fusion, for example.
Me, 1982
THE VEIL DANCE and OTHER PROPS
Props became a huge asset due to the demand for long sets and dancers rose to occasion, in typical American style, and created a number of elements of today’s cabaret belly dance, including the veil. American audiences increasingly attend club shows and they loved the veil, so dancers developed a proprietary dance unto itself, called “the Veil” and it was almost entirely performed to the rhythm of Bolero – occasionally to Chiftitelli. Floorwork was routine, as American audiences were accustomed to athleticism in dance, so knee spins, back traveling backbends and Turkish drops became the norm. And, zill work was absolutely required! In fact, if you could not play zills you were usually not hired as a dancer. Dancers routinely played zills during musical sets with the musicians.
Props became a huge asset due to the demand for long sets and dancers rose to occasion, in typical American style, and created a number of elements of today’s cabaret belly dance, including the veil. American audiences increasingly attend club shows and they loved the veil, so dancers developed a proprietary dance unto itself, called “the Veil” and it was almost entirely performed to the rhythm of Bolero – occasionally to Chiftitelli. Floorwork was routine, as American audiences were accustomed to athleticism in dance, so knee spins, back traveling backbends and Turkish drops became the norm. And, zill work was absolutely required! In fact, if you could not play zills you were usually not hired as a dancer. Dancers routinely played zills during musical sets with the musicians.
IMPROVISAITON
The dance was improvised and dancers learned by doing and watching. Most did not know what choreography was or how to do it! (Today it is different – most belly dance is choreographed and most dancers struggle to improvise). In time, groups began to form and perform - folk dances and choreographed belly dances - but soloists always improvised!
The dance was improvised and dancers learned by doing and watching. Most did not know what choreography was or how to do it! (Today it is different – most belly dance is choreographed and most dancers struggle to improvise). In time, groups began to form and perform - folk dances and choreographed belly dances - but soloists always improvised!
YALEIL, Director, Jenaeni Rathor, 1983 OJAI L-R: Shay, Alexandra King, Aleili, Sumaila
All this synthesis led to a magnificent, hugely complex and athletic style of belly dance that we now call “American Cabaret”, (affectionally, AmCab) and it lasted as the primary style of belly dance in the US until the 1980’s when the “style du jour” became Egyptian.
SF AMCAB dancer, circa 1950's Nat Farbman/The LIFE Picture Collection
Me, 1980
FUSION AS THE CREATIVE PROCESS
Throughout history, fusion has been at the heart of the creative process. Flamenco is a fusion of Moorish, Jewish, Spanish and Roman styles of dance and music. Ballet has always incorporated world dance into its repertoire:
“Early in the history of ballet, the native dances of foreign countries were introduced into choreography. These were not, however, duplications but rather were adaptations whereby the basic classic steps were adapted to impart an ethnic flavor.” American Ballet Theater, Souvenir Program, 1978-1979 Edition.
Modern Dance, Modern Egyptian, Modern Contemporary, Jazz and Modern Tribal Fusion belly dance, are all examples of the creative process. It is worth noting that some folks consider adaptations of another art or culture as “cultural appropriation”, but nothing could be further from the truth! There is no effort in the creative process to wipe-out or undermine another culture, as we would see in colonialization. There is a place in the world of art for preserving tradition as well as evolving from the traditional arts. Without this process, there would not be flamenco, modern ballet, jazz, etc.
When we view the American landscape on innovation – whether it was in the industrial revolution or the cultural evolution in the arts, we see that Americans are a very creative lot and it is this wonderful thrust towards new and improved versions of the old that brought about the American Cabaret – Tribal Fusion and Modern Egyptian (which adapted ballet in the 50’s, 60’s and beyond) and Jazz.
AMCAB FROM THE 1980’S TO THE PRESENT
In the almost 80 years that belly dance has been in the American dance world, it has morphed almost every 10 years. After Egyptian in the 80’s there was ATS in the 90’s and then Tribal Fusion in the 2000’s. This is the creative process at work! During this period of evolution and change, the American Cabaret took a back seat - for a number of reasons.
Throughout history, fusion has been at the heart of the creative process. Flamenco is a fusion of Moorish, Jewish, Spanish and Roman styles of dance and music. Ballet has always incorporated world dance into its repertoire:
“Early in the history of ballet, the native dances of foreign countries were introduced into choreography. These were not, however, duplications but rather were adaptations whereby the basic classic steps were adapted to impart an ethnic flavor.” American Ballet Theater, Souvenir Program, 1978-1979 Edition.
Modern Dance, Modern Egyptian, Modern Contemporary, Jazz and Modern Tribal Fusion belly dance, are all examples of the creative process. It is worth noting that some folks consider adaptations of another art or culture as “cultural appropriation”, but nothing could be further from the truth! There is no effort in the creative process to wipe-out or undermine another culture, as we would see in colonialization. There is a place in the world of art for preserving tradition as well as evolving from the traditional arts. Without this process, there would not be flamenco, modern ballet, jazz, etc.
When we view the American landscape on innovation – whether it was in the industrial revolution or the cultural evolution in the arts, we see that Americans are a very creative lot and it is this wonderful thrust towards new and improved versions of the old that brought about the American Cabaret – Tribal Fusion and Modern Egyptian (which adapted ballet in the 50’s, 60’s and beyond) and Jazz.
AMCAB FROM THE 1980’S TO THE PRESENT
In the almost 80 years that belly dance has been in the American dance world, it has morphed almost every 10 years. After Egyptian in the 80’s there was ATS in the 90’s and then Tribal Fusion in the 2000’s. This is the creative process at work! During this period of evolution and change, the American Cabaret took a back seat - for a number of reasons.
- For one thing, there was little to no exposure to the Middle Eastern music and culture that dancers were privy to in the 1960-70’s -80s. With the lack of live music, recorded music was the only source to dance to, which contributed to less-and-less Middle Eastern music and more and more western styles of music such as pop, techno and world music.
- Additionally, globalism has spread it’s Borg-like tentacles across the world spearheading pop music as the global norm and changing all world cultures to become more and more like the west.
- Choreography became de rigueur and improvisation passe. This was a double-edged sword. Choreography is an essential tool for all dancers for many reasons. But, so is improvisation! One of the gifts that AmCab dance gave to the belly dance world was the ability to improvise.
- Another factor in the decline of the American Cabaret was that, in the 1990s, dancers with little to no training as teachers and often no professional experience performing, began teaching the public, so many of the AmCab skills -such as zill work and floor work went by the wayside.
- Lastly, in the 2000’s an increasingly older demographic of students began entering the art, and without the physicality to do the very athletic technical things AmCab required, professional dancers struggled to teach them much beyond a few steps, isolations and some veil work.
- It is a fusion style of belly dance, incorporating dance from Egypt (cane and drum solo), Turkey (floor work, the candle dance; the veil); Raks al-na’ish (the hair dance of Saudi Arabia, the Saudi Arabian sword dance (Raks Ardha), Snake dances from Central Asia, and zills work from Turkey and Egypt.
- It was Middle Eastern and American, so it was a hybrid which retained its roots and Middle Eastern culture – mostly Turkish and Aegean. Western influences can embellish but should not change it so much that it has loses its roots in Middle Eastern culture and art. (This is where preserving a tradition is important).
- It is segmented into 3-5 parts including a fast opening, a veil sequence, a protracted taksim including standing work and floor work, a drum solo and a finale in 6/8, 9/8 or 4/4 cane. Contrast is a crucial part of art and American Cabaret added a tremendous amount of contrast – with all the levels, angles and changes in tempo and rhythm.
- Zills are played throughout and dancers know multiple rhythms.
- It uses Ameraba music. Musicians from this genre are: Eddie Kochek, George Abdo, The Brothers of the Baladi, Omar Khorshid, Saadoun Al-Bayati, Gus Vali, Asaad Khouri, Jazayer, RAJA, John Bilezikjian, to name a few.
STRIPPING AND BELLY DANCE
It is interesting to note that in the 1950’s there was a conservative movement in the U.S. and stripping was outlawed in NYC. Many strippers moved over to belly dance, which was often considered hoochi-koochie at that time. They wore pasties and skimpy skirts that showed their legs and encouraged tipping and engagement with the audience. Because this period spanned the 1950’s – 1970’s, many dancers were hippies and saw belly dance as a spiritual art – not a sexual art, so some dancers took offense at this, while others were more amenable to the exchange based on sensual feminism which embraces sensuality as part of spirituality.
Then, in the 1980’s, most of the Middle Eastern clubs in Los Angeles closed and became strip joints: this ended the struggle to differentiate stripping and hoochie-koochie from belly dance. People went to strip clubs to see strippers, not belly dancers, and belly dancers moved to festivals and when possible, to restaurants.
Up until the 1970’s women were not considered sexual beings who enjoyed this most basic human pleasure, so any hint of sexuality or nudity offended people. The women’s movement and the sexual revolution changed that, taking the stigma of aberration from dancers who were doing sensual dance. Today, we have come to realize the beauty of female sexuality and the importance of sexual expression and indeed, the empowerment of all people, through dance, music and film.
It is interesting to note that in the 1950’s there was a conservative movement in the U.S. and stripping was outlawed in NYC. Many strippers moved over to belly dance, which was often considered hoochi-koochie at that time. They wore pasties and skimpy skirts that showed their legs and encouraged tipping and engagement with the audience. Because this period spanned the 1950’s – 1970’s, many dancers were hippies and saw belly dance as a spiritual art – not a sexual art, so some dancers took offense at this, while others were more amenable to the exchange based on sensual feminism which embraces sensuality as part of spirituality.
Then, in the 1980’s, most of the Middle Eastern clubs in Los Angeles closed and became strip joints: this ended the struggle to differentiate stripping and hoochie-koochie from belly dance. People went to strip clubs to see strippers, not belly dancers, and belly dancers moved to festivals and when possible, to restaurants.
Up until the 1970’s women were not considered sexual beings who enjoyed this most basic human pleasure, so any hint of sexuality or nudity offended people. The women’s movement and the sexual revolution changed that, taking the stigma of aberration from dancers who were doing sensual dance. Today, we have come to realize the beauty of female sexuality and the importance of sexual expression and indeed, the empowerment of all people, through dance, music and film.
Album cover.
Album cover.
ETHNIC DANCE
In the U.S. the word “ethnic” applies to dance styles not born of the European diaspora – ballet, contemporary – jazz – tap. But the truth is, all dance is “ethnic” in that all dance styles, classical and folk alike, have roots in a particular culture.
“Apparently one pan-human trait is to divide the world into "we" and "they”. All forms of dance reflect the cultural traditions within which they developed and so are ethnic – including ballet”.
~ An Anthropologist Looks at Ballet as a Form of Ethnic Dance JOANN KEALIINOHOMOKU
Because change is a constant, there is a tendency for dance to evolve and become more athletic, more complex and more sophisticated Ballet began as a simple minuet in the courts of France and Italy – today it is a sport that defies the limits of human athleticism! Flamenco, in its nascent forms from the 15th- 19thcenturies evolved from a form of personal expression and family entertainment to a world-class sophisticated art that, like ballet, is so far from the original style it is mind-boggling!
The same could be said for belly dance. Over the first 30 years of its existence in the U.S. belly dance grew to mammoth proportions in complexity, physicality and musicality. With the current revival, it should bring tremendous attention and respect for the sophisticated, high-art it is. But, no matter what style of belly dance a person chooses, it is wonderful to know that with all the styles of belly dance that exist today, dancers of all ages, bodies and backgrounds can find a way to express themselves with this beautiful style.
Dance on!
Alexandra King is a highly regarded Middle Eastern dance artist throughout the United States. She is a proponent of the American Cabaret style belly dance, as taught by the legendary dancer, Jenaeni Rathor.
She is the dance director of the UCSB Middle East Ensemble,
which she co-founded with Dr. Scott Marcus in 1989. Her training includes ballet, pointe, tap, Middle Eastern and Greek folk dances, classical Persian dance, Polynesian dance, flamenco, Bharata Natyam and four styles of belly dance.
She produced a four-part instructional video series, “The Ancient Art of Oriental Dance” which sold internationally from 1986 -1998.
Since 1981, she has produced dozens of concerts and festivals, including the ground-breaking folkloric ballet, SERAGLIO whichshe wrote and largely choreographed.
From 2000-2004 she was a lecturer in the UCSB Dept. of Dance and Dramatic Arts, teaching Middle Eastern Dance.
She has traveled extensively throughout North Africa and the Middle East to study the dances of these regions.
Her awards include:
She is the dance director of the UCSB Middle East Ensemble,
which she co-founded with Dr. Scott Marcus in 1989. Her training includes ballet, pointe, tap, Middle Eastern and Greek folk dances, classical Persian dance, Polynesian dance, flamenco, Bharata Natyam and four styles of belly dance.
She produced a four-part instructional video series, “The Ancient Art of Oriental Dance” which sold internationally from 1986 -1998.
Since 1981, she has produced dozens of concerts and festivals, including the ground-breaking folkloric ballet, SERAGLIO whichshe wrote and largely choreographed.
From 2000-2004 she was a lecturer in the UCSB Dept. of Dance and Dramatic Arts, teaching Middle Eastern Dance.
She has traveled extensively throughout North Africa and the Middle East to study the dances of these regions.
Her awards include:
- 2005NominatedLifetimeAchievementAward,SBDanceAlliance Santa Barbara, CA
- 2003 Awarded Best Instructor, IAMED Awards Hollywood, CA.
- 1995BestInstructor,NafisaGemAward California
- 1999 Awarded Best Cabaret Dancer, IAMED Awards Hollywood, CA.
- 1998 Best Instructor, Nominee, IAMEDAwards Hollywood, CA.