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Relevant bibliographies by topics / Belly dancers

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Dissertations / Theses
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Academic literature on the topic 'Belly dancers'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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Journal articles on the topic "Belly dancers"

1

Morley, Margaret L. "Social Media and the Commodification of Attention/Inattention in the Changing Egyptian Belly Dance Industry." Anthropology of the Middle East 18, no. 2 (2023): 11–26. http://dx.doi.org/10.3167/ame.2023.180202.

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Abstract In 2018, Russian belly dancer Gohara catapulted to stardom after being charged with ‘inciting debauchery’ and nearly deported when a video of her Cairo disco performance went viral. Based on participant-observation of the belly dance industry in Egypt, this article employs ethnographic narratives to demonstrate that although attention is commodified across Egyptian belly dance venues, so is inattention and discretion. While foreign dancers like Gohara can often profit from any attention, for Egyptian dancers the social costs of attracting attention frequently make it undesirable, creating opportunities for exploitation and the commodification of inattention and discretion. As such, the growing dominance of the visually based economies of attention on social media is generating new challenges for Egyptian belly dancers trying to compete in a changing market.

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Hawthorn, Ainsley. "Middle Eastern Dance and What We Call It." Dance Research 37, no. 1 (2019): 1–17. http://dx.doi.org/10.3366/drs.2019.0250.

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This article traces the historical background of the term ‘belly dance’, the English-language name for a complex of solo, improvised dance styles of Middle Eastern and North African origin whose movements are based on articulations of the torso. The expression danse du ventre – literally, ‘dance of the belly’ – was initially popularised in France as an alternate title for Orientalist artist Jean-Léon Gérôme's 1863 painting of an Egyptian dancer and ultimately became the standard designation for solo, and especially women's, dances from the Middle East and North Africa. The translation ‘belly dance’ was introduced into English in 1889 in international media coverage of the Rue du Caire exhibit at the Parisian Exposition Universelle. A close examination of the historical sources demonstrates that the evolution of this terminology was influenced by contemporary art, commercial considerations, and popular stereotypes about Eastern societies. The paper concludes with an examination of dancers' attitudes to the various English-language names for the dance in the present day.

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Kurt, Berna. "An Autoethnographic Analysis of a Space for Belly Dancing Women: Istanbul Educational and Cultural Association of Oriental Dancers." Dance Research 41, no. 1 (2023): 19–39. http://dx.doi.org/10.3366/drs.2023.0388.

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Istanbul Educational and Cultural Association of Oriental Dancers (Istorder) is a unique institution that brings together professional belly dancers in Istanbul/Turkey. Between 2019–2021, I participated in belly dance courses in their dance studio. In this study, I examine my own experience, utilizing the data obtained from participant observation, fieldnotes, and semi-structured interviews with a feminist autoethnographic approach. I consider both my own experience and the narratives of other women who learn and teach belly dance in Istorder. Furthermore, I compare my findings with other research on women’s experiences of belly dance in the United States of America in different historical contexts.

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Chang, Yu-Chi. "Localised Exoticism: Developments and Features of Belly Dance in Taiwan." Physical Culture and Sport. Studies and Research 54, no. 1 (2012): 13–25. http://dx.doi.org/10.2478/v10141-012-0003-6.

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Localised Exoticism: Developments and Features of Belly Dance in TaiwanBelly dance has become one of the most popular dances in Taiwan today, with women of various ages participating in this imported dance. With respect to this speedy expansion, the purpose of this study is to investigate current developments, and to distinguish features of Taiwanese belly dance. The method adopted is literature analysis: a large number of Internet news items were collected to capture the trend of belly dancing in Taiwan. This study concludes that belly dance in Taiwan is primarily presented as: an exercise that is beneficial for health; widely accessible and partially embedded in local life; an exercise for all age groups and genders; a blend of multiple cultural elements; outstanding dancers acclaimed as the pride of Taiwan. The representation showed that the development of belly dance was influenced by the Taiwanese social background. Within the Taiwanese cultural landscape of meanings, belly dance moves between the exotic and the local. This study argues that belly dance is better described as "localised-exoticism" in Taiwan.

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Frühauf, Tina. "Raqs Gothique: Decolonizing Belly Dance." TDR/The Drama Review 53, no. 3 (2009): 117–38. http://dx.doi.org/10.1162/dram.2009.53.3.117.

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Goth belly dance—or “raqs gothique”—fuses the already Westernized interpretative dance style of the Middle East with Goth subculture. Goth belly dancers want to reject or transcend the obvious roots of belly dancing in Orientalism, but how successful are they?

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Barber, Phyllis. "Belly Dancers' Reunion." Frontiers: A Journal of Women Studies 11, no. 2/3 (1990): 75. http://dx.doi.org/10.2307/3346826.

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Bordelon, Candace A. "Finding “the Feeling” Through Movement, Music, and Memory: Oriental Dance, Tarab, and Umm Kulthūm." Congress on Research in Dance Conference Proceedings 2012 (2012): 12–21. http://dx.doi.org/10.1017/cor.2012.2.

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In the tradition of Arab music, artists aspire to generate tarab, an experiential quality described by ethnomusicologist A. J. Racy as a merger between music and emotional transformation. Although there is no exact equivalent in Western language, the most common English words used to capture the meaning of tarab are “ecstasy,” “transcendence,” and “enchantment.” Music frequently identified as being tarab music includes that of Egyptian singer Umm Kulthūm, a towering figure in twentieth century Arab music. Oriental dance (the name used in Egypt, but commonly referred to as belly dance) is customarily performed to this genre of music, which dancers acknowledge as an inseparable part of the dance. This study unravels how the Oriental dancer, in tandem with the music of Umm Kulthūm, engages with the audience to create the experience of tarab—a deeply emotional state generated by the invocation of personal, cultural, and public memories that is often collectively experienced by dancer, musicians, and audience. This study is based on interviews with four Egyptian dancers and four North American dancers who performed extensively in the Middle East. This research, while both building on and theorizing from the current ethnomusicological research on tarab music, foregrounds the dancer's voice and her experiences while embodying and performing to this music, offering a new analysis that brings the dancer into the discourse and expands our understanding of Oriental dance as a performance and aesthetic experience apart from the traditional notions of Orientalism.

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Faidi, Maria. "Rolling and Trembling of the Abdomen: Movement as a Subaltern Subject in Colonial Egypt." Congress on Research in Dance Conference Proceedings 2016 (2016): 141–47. http://dx.doi.org/10.1017/cor.2016.20.

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Accordingly to Shay and Sellers-Young (2005) “the term “belly dance” was adopted by natives and non-natives to denote all solo dance forms from Morocco to Uzbekistan that engage the hips, torso, arms and hands in undulations, shimmies, circles and spirals.” Dance historian Curt Sachs depicted the dance as “the swinging of the rectus abdominis” (Sachs 1963). This movement has been performed by many oriental dancers in the past century and has become part of the routine of oriental dancers worldwide. This movement has even named the dance “belly dance,” and become one of the most representative elements of contemporary Egyptian culture.This paper will be organized as follows: firstly, I am going to explain succinctly how I use the term “subaltern” in relation to dance and colonialism. Secondly, I am going to present the main scenarios, actors, and factors in which the rolling and trembling of the abdomen was danced, watched, desired and hated at the end of the nineteenth century, provoking strong love/hate reactions among the fin de siecle public. The discourse intermingles both dance and feminist analysis observing how movement constituted a metaphor of the unequal power relations between the metropolis and the colony within the particular historical context of British colonialism in Egypt.

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KC, Divya, Ajaya Kumar Dhakal, Devendra Shrestha, Sharda Acharya, and Nischal Neupane. "Abdominal Wall Dyskinesia in a Child Presenting as Belly Dancers’ Syndrome: A Case Report." Journal of Nepal Medical Association 61, no. 266 (2023): 831–33. http://dx.doi.org/10.31729/jnma.8296.

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Belly dancer’s dyskinesia or syndrome is a rare condition characterized by involuntary, undulating, infrequent diaphragm movements. The etiologies for this disorder include nervous system disorders (peripheral or central), drug-induced, psychological, or idiopathic. This article describes a 10-year-old boy with an underlying psychological stressor who suddenly experienced involuntary abdominal wall movements after salbutamol nebulization. After a detailed history, physical examination, and abdominal ultrasound that revealed rapid rhythmic diaphragm movements, the child was diagnosed with salbutamol-induced belly dancer's dyskinesia with an underlying psychological problem. These movements subsided with medical and psychological therapy for two weeks. Belly dancer’s dyskinesia is a complex disorder that is difficult to diagnose but can be managed with medical treatment and psychological counseling alone in a few patients. In contrast, in other cases, surgical intervention may be required.

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Byczkowska, Dominika. "What do we study studying body? Researcher’s attempts to embodiment research." Qualitative Sociology Review 5, no. 3 (2009): 100–112. http://dx.doi.org/10.18778/1733-8077.5.3.07.

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The article presents researcher’s attempts, methodological problems and queries in embodiment research during a Grounded Theory Methodology based study on social world of ballroom dancers. The research has been conducted among ballroom dancers, flamenco dancers, belly dancers, dance instructors, choreographers and judges. One of the aspects of the research is social construction of embodiment. In the article I will present techniques and methods of research such as autoetnography, interview, observation, photo and video analysis as well as kind of results they may give and what is really studied when using these methods. I will also present how one experiences his/her body in this group. I will try to answer a question: what is the real result of researcher’s attempts in embodiment study in sociology; do we really study body, or its social practices, socially constructed individual experience; how deeply can we make the research when our object (somebody else’s body) is not entirely intersubjectively available for our recognition.

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Dissertations / Theses on the topic "Belly dancers"

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Bock, Sheila Marie. "From harem fantasy to female empowerment : rhetorical strategies and dynamics of style in American belly dance /." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1144685165.

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Hooi, Mavis. "Oriental Fantasy : A postcolonial discourse analysis of Western belly dancers’ imaginations of Egypt and dance festivals in Egypt." Thesis, Linköpings universitet, Avdelningen för historie-, turism- och medievetenskap, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-125565.

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Belly dance is popularly practised in the West, and every year, thousands of enthusiasts and professionals from around the world travel to attend belly dance festivals in Egypt, which is considered the cultural centre of the dance. This bachelor’s thesis examines the discourses produced by Western or ʽwhiteʼ belly dancers from Sweden and Finland, on the topics of tourism in Egypt and belly dance festivals in Egypt. The texts are analysed using James Paul Gee's discourse analytical framework, combined with postcolonial theory, complemented with an intersectional approach. From the postcolonial and feminist perspectives, belly dance discourse in the West and tourism discourse are problematic, as they perpetuate Orientalist tropes and unequal global power structures, which build on colonial discourse. It is hoped that by identifying and questioning these aspects of discourse that are problematic in terms of equity, this study will make a small contribution towards mitigating its adverse effects, and towards social change.<br><p>ORCID for Mavis Hooi : 0000-0002-0049-1095</p>

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Bagnole, Rihab Kassatly. "Imaging the Almeh: Transformation and Multiculturalization of the Eastern Dancer in Painting, Theatre, and Film, 1850-1950." Ohio : Ohio University, 2005. http://www.ohiolink.edu/etd/view.cgi?ohiou1132433330.

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Polynone, Devon, and Devon Polynone. "An American Belly Dancer." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12387.

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The purpose of this research was to investigate the creative process of six professional American Belly Dancers: Shannon Conklin, Elena Villa, Lila McDaniel, TC Skinner, Manny Garcia, and Cera Byer. I took a class with each dancer, witnessed each dancer creating movement, and witnessed each dancer perform. After each experience I held discussions with each dancer. I learned that, for some of the dancers, music is everything, but for others, Belly Dance can be performed to any sound. For some of the dancers, Belly Dance is highly codified, and for others it is experimental. For some of the dancers, Belly Dance is a solo endeavor, but for others, dancing with a troupe is essential. Following these findings, I created six movement explorations - one based on each professional Belly Dancer in my study. Supplemental video footage of these explorations can be viewed as a companion to this written document.

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Kelly, Brigid Maria. "Belly dancing in New Zealand: identity, hybridity, transculture." Thesis, University of Canterbury. School of Culture, Literature and Society, 2008. http://hdl.handle.net/10092/2536.

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This thesis explores ways in which some New Zealanders draw on and negotiate both belly dancing and local cultural norms to construct multiple local and global identities. Drawing upon discourse analysis, post-structuralist and post-colonial theory, it argues that belly dancing outside its cultures of origin has become globalised, with its own synthetic culture arising from complex networks of activities, objects and texts focused around the act of belly dancing. This is demonstrated through analysis of New Zealand newspaper accounts, interviews, focus group discussion, the Oasis Dance Camp belly dance event in Tongariro and the work of fusion belly dance troupe Kiwi Iwi in Christchurch. Bringing New Zealand into the field of belly dance study can offer deeper insights into the processes of globalisation and hybridity, and offers possibilities for examination of the variety of ways in which belly dance is practiced around the world. The thesis fills a gap in the literature about ‘Western’ understandings and uses of the dance, which has thus far heavily emphasised the United States and notions of performing as an ‘exotic Other’. It also shifts away from a sole focus on representation to analyse participants’ experiences of belly dance as dance, rather than only as performative play. The talk of the belly dancers involved in this research demonstrates the complex and contradictory ways in which they articulate ideas about New Zealand identities and cultural conventions. Some of their reflections on belly dancing appear to reflect consciousness of and dis-ease around issues of indigeneity and multiculturalism in wider New Zealand society. Participants in this study also talk about how they explore and perform ideas about femininity, which includes both acceptance and rejection of belly dancing as innately feminine. Looking at New Zealand identities through belly dance, and vice-versa, highlights developing, nuanced and multiple articulations of self and other in a globalised world.

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Cooper, Siouxsie. "Walk like an Egyptian : Belly Dance past and present practice in England." Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/3361.

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How Belly Dance practitioners in England construct a sense of self-identity, social-identity and identity-in-practice in a border-crossing Belly Dance ethnoscape is of interest for this research project. What kinds of identities-in-practice do Belly Dancers in England construct in order to authenticate their performance? By applying social theories of education and identity formation, in particular Holland et al’s “figured worlds” (2001), it is possible to critically frame the development of a practitioner’s Belly Dance identity over a period of time. The research presents the case that Belly Dance in England has an identifiable past and present practice, one that continually wrestles with ownership of what is apparently a Middle Eastern cultural export. Drawing from a literature based case study of two pioneering artists in the early 1980s, Hilal and Buonaventura, the research describes a distinctive English Belly Dance tradition and identities. There is an explanation of how the English Belly Dance form has since competed on the global stage. The research also describes how current inheritors of that tradition −Anne White, Caroline Afifi and Siouxsie Cooper are taken as case studies− appropriate and signal Egyptian Belly Dance as the dominant reference point from which to authenticate their dancing practice; whilst at the same time subverting the Orientalist paradigm underpinning the Belly Dance trope. Identifying “narratives of authenticity” enable the current generations of English Belly Dancers to form distinctive Belly Dancing identities-in-practice. Drawing from both social theories of education and identity formation and reflexive ethnographic modes of inquiry, Walk like an Egyptian examines Belly Dance in England as a translocated dance form, and the mechanisms which allow its authenticity are analysed. In answer to the research question it is possible for an English practitioner of Belly Dance to produce an authentic Belly Dance performance through the production of various narratives of authenticity, narratives which both borrow from and resist pre-existing narratives of authenticity.

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Strohschein, Heather. "Between modern dance and intercultural performance the multiple truths of the Bird Belly Princess /." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1182295842.

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McDonald, Caitlin. "Belly dance and glocalisation : constructing gender in Egypt and on the global stage." Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/119585.

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This thesis is an ethnography of the global belly dance community with particular reference to the transmission of dance paradigms from Cairo to the international dance community. Key words describing my topic include dance, gender, performance, group dynamics, social norms and resistance, public vs. private, tourism, and globalisation. I hypothesize that social dancing is used in many parts of the world as a space outside ordinary life in which to demonstrate compliance with or to challenge prevailing social paradigms. The examination of dance as a globalised unit of cultural capital is an emerging field. With this in mind I investigate the way this dance is employed in professional, semi-professional, and non-professional settings in Egypt and in other parts of the world, notably North America and Europe. Techniques included interviewing members of the international dance community who engage in dance tourism, travelling from their homes to Egypt or other destinations in order to take dance classes, get costumes, or in other ways seek to have an 'authentic' dance experience. I also explored connections dancers fostered with other members of the dance community both locally and in geographically distant locations by using online blogs, websites, listservs and social networking sites. I conducted the first part of my fieldwork in Cairo following this with fieldwork in belly dance communities in the United States and Britain.

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Haynes-Clark, Jennifer Lynn. "American Belly Dance and the Invention of the New Exotic: Orientalism, Feminism, and Popular Culture." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/20.

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Belly dance classes have become increasingly popular in recent decades in the United States. Many of the predominantly white, middle-class American women who belly dance proclaim that it is a source of feminist identity and empowerment that brings deeper meaning to their lives. American practitioners of this art form commonly explain that it originated from ritual-based dances of ancient Middle Eastern cultures and regard their participation as a link in a continuous lineage of female dancers. In contrast to the stigmatization and marginalization of public dance performers in the Middle East today, the favorable meaning that American dancers attribute to belly dance may indicate an imagined history of this dance. Based on ethnographic fieldwork conducted on the West Coast of the United States and Morocco in 2008-2009, I explore American belly dance utilizing theoretical contributions from feminism, Foucauldian discourse analysis, and postmodernism. I argue that an anthropological investigation of American belly dance reveals that its imagery and concepts draw from a larger discourse of Orientalism, connected to a colonial legacy that defines West against East, a process of othering that continues to inform global politics and perpetuates cultural imperialism. But the creative identity construction that American women explore through belly dance is a multi-layered and complex process. I disrupt the binary assumptions of Orientalist thinking, highlighting the heterogeneity and dynamic quality of this dance community and exploring emergent types of American belly dance. Rather than pretending to be the exotic Other, American belly dancers are inventing a new exotic Self. This cultural anthropological study contributes to a greater understanding of identity and society by demonstrating ways that American belly dancers act as agents, creatively and strategically utilizing discursive motifs to accomplish social and personal goals.

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Strohschein, Heather Anne. "Between Modern Dance and Intercultural Performance: The Multiple Truths of the Bird Belly Princess." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1182295842.

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Books on the topic "Belly dancers"

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Long, Rod. Belly laughs: Adventures with celebrities & other unusual characters : entertaining & quirky stories from 32 of the world's most beautiful women! Talion Pub., 1999.

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Long, Rod. Belly laughs: Adventures with celebrities & other unusual characters : entertaining & quirky stories from 32 of the world's most beautiful women! Talion Pub., 1999.

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Long, Rod. Belly laughs: Adventures with celebrities & other unusual characters : entertaining & quirky stories from 32 of the world's most beautiful women! Talion Pub., 1999.

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Yaḥyá, Shadhá. al-Imbiryālīyah wa-al-hishshik bishshik: Tārīkh al-raqṣ al-sharqī : fikr. Ibn Rushd, Wukalāʼ wa-Nāshirūn, 2020.

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Claude, Guibal, ed. Ma liberté de danser. Michel Lafon, 2011.

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Varn, Kathleen. Ameera unveiled. Boutique of Quality Books Publishing Company, 2013.

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Ṭuʻaymah, Muḥammad Ibrāhīm. ʻAfrītah Hānim. Maktabat Jazīrat al-Ward, 2015.

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Cameron, DeAnna. The belly dancer. Berkley Books, 2009.

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Cameron, DeAnna. The Belly Dancer. Penguin USA, Inc., 2009.

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Prior, Natalie Jane. Dance crazy: Star turns from ballet to belly dancing. Allen & Unwin, 1995.

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Book chapters on the topic "Belly dancers"

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Jarmakani, Amira. "Veiled Intentions: The Cultural Mythology Of Veils, Harems, And Belly Dancers In The Service Of Empire, Security, And Globalization." In Imagining Arab Womanhood. Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230612112_5.

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Bhidayasiri, Roongroj, and Daniel Tarsy. "Belly Dancer’s Dyskinesia." In Current Clinical Neurology. Humana Press, 2012. http://dx.doi.org/10.1007/978-1-60327-426-5_82.

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Morley, Margaret L. "Egyptian Belly Dance IS Feeling." In The Routledge Companion to the Anthropology of Performance. Routledge, 2023. http://dx.doi.org/10.4324/b23216-30.

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Sellers-Young, Barbara. "Belly Dance, Gender and Identity." In Belly Dance, Pilgrimage and Identity. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-349-94954-0_6.

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Jatwani, Somya. "Belly Dance as Restaurant Entertainment." In Dance in US Popular Culture. Routledge, 2023. http://dx.doi.org/10.4324/9781003011170-32.

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Sellers-Young, Barbara. "Introduction: Belly Dance: Transmission in Popular Culture." In Belly Dance, Pilgrimage and Identity. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-349-94954-0_1.

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Sellers-Young, Barbara. "Egypt: Place of Pilgrimage, Place of Home." In Belly Dance, Pilgrimage and Identity. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-349-94954-0_2.

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Sellers-Young, Barbara. "Dancing the Goddess in Popular Culture: Resistance, Spirituality and Empowerment." In Belly Dance, Pilgrimage and Identity. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-349-94954-0_3.

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Sellers-Young, Barbara. "San Francisco and American Tribal Style." In Belly Dance, Pilgrimage and Identity. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-349-94954-0_4.

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Sellers-Young, Barbara. "Fusion, Dark Fusion and Raqs Gothique." In Belly Dance, Pilgrimage and Identity. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-349-94954-0_5.

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Conference papers on the topic "Belly dancers"

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Paula, Suélen Carolini de. "BEYOND THE OLD AND THE NEW IN FASHION: THE UPCYCLING BELLY DANCE COSTUME DEVELOPMENT." In ENSUS2023 - XI Encontro de Sustentabilidade em Projeto. Grupo de Pesquisa Virtuhab/UFSC, 2023. http://dx.doi.org/10.29183/2596-237x.ensus2023.v11.n1.p229-239.

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The research is characterized as exploratory and applied and aims to present the use of upcycling for the development of belly dancing costumes. As a theoretical review, it presents sustainability in fashion,Upcycling as an alternative for the reuse of discarded products and Costume Design in Belly Dance. The applied methodology unfolded through a bibliographic review and application of design tools,investing in the verification of techniques and materials suitable for the reuse of discarded party dresses. The main results refer to. development of a collection of belly dance costumes made from discarded party dresses, for a fashion show at the Shimmie Festival in São Paulo.

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Reports on the topic "Belly dancers"

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Haynes-Clark, Jennifer. American Belly Dance and the Invention of the New Exotic: Orientalism, Feminism, and Popular Culture. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.20.

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