How Do Egyptian Belly Dancers Apply Makeup
Terminal Updated on March v, 2022
Other Egyptian Dancers
Apart from the dancers who perform and teach internationally, at that place are other examples of Egyptian dancers I found online.
These are the ones who appear on shaabi music videos and I have found references to some of them on an commodity from a website about civilisation and events in Cairo (Cairoscene Team, 2015).
This article, in add-on to list some famous dancers from the contempo by (Dina, Fifi Abdou, Lucy and Nagwa Fouad) mentions Bardees, Shakira al Masria and Sama el Masry.
They adhere to a certain 'baladi' expect, which, according to Esposito (2016, para. iii) nowadays is 'the preferred artful for abdomen dancers . . . very much about silicone, tattooed eyebrows, perfectly ironed black wigs, and really bad makeup'.
This is too the await that Egyptian raqs sharqi dancers, such as Camelia and Sahar Samara, accept adopted.
As well, Bardees, Shakira al Masria and Sama el Masry have all been jailed for existence in controversial music videos (Egyptian Streets, 2015), which Diana (Esposito, 2016, para. iii) defines as 'titty-twerking and broom-stick humping video clips'.
It seems that a certain aesthetic, which is driven by society, influences the way in which professional person raqs sharqi dancers in Egypt today dance and nowadays themselves, and the way in which they are judged.
Nostalgia
There is, however, in Egyptian lodge, a sense of nostalgia for the erstwhile days of abdomen dance, the Golden Age, and in item dancers such as Samia Gamal.
asmina of Cairo comments that (Sullivan and Farouk, 2006, sec. 1:22:xv), 'unlike the dancers of today, those female icons of the silver screen are remembered and revered in a way that only the distance of history allows'.
The Lebanese film director Jocelyne Saab, states that (ibid, i:23:12):
Golden age of cinema it was a golden age . . . not only for cinema. Citizens were much more than open minded than today, nosotros are in a terrible regression. . . . And then, that's why dancing was prosperous and elegant and accustomed in a way and they become gods and goddesses.
Jocelyne Saab
And the costumier Amera el Kattan stated (ibid, 1:22:23):
The beauty of Samia Gamal . . . everybody loves . . . her elegance, her subtleties, her excellence, excellently trained . . . only she is as well excellently presented, and so she has always been the perfect lady on stage, the perfect dancer and perfect model, way wise.
Amera el Kattan
Amie Sultan
Some other dancer mentioned in the Cairo Scene article (Cairoscene Squad, 2015) in the list on the Cairo Scene website is Amie Sultan (Mowafi, 2015).
She is Egyptian simply was born in Singapore. She used to be a ballet dancer earlier discovering Raqs sharqi.
She trained with Dina and Raqia Hassan and her aim is to refine belly dancing over again, to promote a classier await and 'revive the golden age of trip the light fantastic toe' (CNN, 2016).
Amie Sultan seems to cater to the upper class of Egyptian guild as Esposito comments (2016, paras ii, 5):
It's non that Amie is irresolute the way dancers are approaching the dance or Egyptians' tastes– in fact her influence is mostly express to a rather airtight circle . . . she's constitute her audience in a certain sector of Egyptian society that's [sic] already had those tastes. The Cairo 'posh'. . . . Naima Akef, Samia Gamal, and Souheir Zaki radiated elegance in their day. They simply reflected the classy sophistication of mainstream Egyptian culture at that time.
Amie Sultan (2016)
Grade Partitioning in Egyptian Society
The grade division in Egyptian social club is reflected in the trip the light fantastic and this is not a new phenomenon.
From the time of Badia Masabni, in that location were unlike classes of dancers who danced for different people and in unlike settings, with their dancing and costume style adapted to their audiences.
This is the same today. Dancers position themselves in the field of cultural production and apply certain transcultural resources (including media, costumes, and make-upwards) to create their niche. Each presents a specific self-identity, to cater to different audiences.
Luna of Cairo (Esposito, 2011a) (aka Diana Esposito) also laments a drop-in skills level of Egyptian dancers today (too of those who perform in 5-star hotels), too as the quality of their costumes compared to 30 years agone and she pinpoints social and fiscal reasons.
Co-ordinate to Diana (ibid), trip the light fantastic toe is considered haram (sinful) today more than than always, but dancing for a living is still considered lucrative even if dancers only perform in cabaret (the cheaper blazon of venues), in spite of the general decline of the Raqs sharqi scene in Cairo today.
Skills Level and Training
Diana (Esposito, 2011a, paras 6, 7) explains how many Egyptian dancers today do not train properly, nor exercise they invest money in costumes and props for a variety of reasons:
The very same women who trip the light fantastic toe professionally believe that what they're doing is . . . haram, sinful. . . . Thus, what is haram doesn't deserve any serious endeavor. . . . Average Egyptians are also worried about where their next meal will come up from to be thinking nigh art. . . . In a place with no guarantees and no social safe nets, it'south non logical for dancers to spend whatsoever of their income on something so frivolous as a dance course.
Diana (Esposito, 2011)
In connection to this presumed drib-in skills level (although information technology is based on observations from an experienced dancer), one might wonder if dancers are actually judged on their skills or on who they dance for.
As discussed by Fraser (2014, sec.A Name for Female person Entertainers), European travelers to Egypt in the 19th century identified 2 classes of dancers: 1 class performed for the upper classes and another for the masses.
Fraser (ibid.) states that these travelers attributed differences between the two groups on the grounds that the dancers performing for the upper classes were more than skilled or those performing for the masses were more vulgar.
All the same, Fraser (ibid.) argues that these travelers were applying European ideas to explain the differences between the ii groups. She suggests, drawing on the position of dancers in the medieval period in Arab republic of egypt, that instead 'performers did not dance for the wealthy because they were high class.
They were considered loftier class because they danced for the wealthy' (2014, sec. A Name for Female person Entertainers). Therefore, it is possible to wonder if the judgments practical to dancers today suffer from the same bias (which derives from the taste/habitus, or schemes of perception (Bourdieu, 2002), of the viewer) and shaabi dancers are judged to be less skilled just because of the type of audience they trip the light fantastic for. This is a possibility worth considering.
Esposito gives some other reason for the 'reject' of Raqs sharqi in Arab republic of egypt, which is the change in gustatory modality of younger Egyptians:
Whereas belly dancing used to be a popular class of entertainment upwards until recently, western mode discos, alcohol and drugs have get the preferred choice of amusement these days. But the biggest competitor to the dance thus far is the DJ. Compared to belly dancing, hiring a DJ is cheap and piece of cake.
(Esposito, 2011a, para. x)
European Influences
Indeed, whereas belly dancers ever were and however are a large office of hymeneals celebrations, it seems that today some people no longer hire abdomen dancers.
The Egyptian entertainment agent Moatsim Orabi, whose father was also an agent and whose clients included Nagwa Fouad, Soheir Zaki, Fifi Abdou, and Sahar Hamdi, once said in an interview to Yasmina (Sullivan and Farouk, 2006, sec. 1:04:55): 'Near of the people at the weddings they can trip the light fantastic toe. . . . The brides and the grooms, they are dancing with the deejay, they practise not need to see a belly dancer'.
This is another example of how gustation in the whole of guild can have an touch on on Egyptian Raqs sharqi as a field of cultural product.
Attitude Towards Belly Dancers
Throughout history, Egyptian society has always had an ambivalent attitude towards abdomen dancers.
Depending on social and economical trends, Egyptian governments have sometimes tried to adjourn belly dancing (Van Nieuwkerk, 1995, pp. 32, 36, 49):
- from the 1834 Muhammed Ali'due south ban of dancers from Cairo (lifted around 1849 past Abbas Basha, in order to recover the assisting taxes imposed on dancers)
- to the 1952 regulation forbidding dancers from showing a naked midriff (hence the adoption by dancers of transparent chiffon to cover the midriff)
More than recently, under Nasser (President of Egypt from 1956 to 1970), belly trip the light fantastic toe was forbidden on television (although one-time black and white movies with dance scenes were allowed) and more and more rules were issued regarding belly dance costumes, east.g. skirts length or bras straps width (Talaat and Guibal, 2011, p. 100).
Nevertheless, Raqs sharqi has ever been part of Egyptian culture.
More than recently, in 2013, the Egyptian Idiot box channel El Tet, which showed only abdomen dancing performances all 24-hour interval, was closed down on morality grounds.
Egyptian TV
In 2014, the TV show Al Rakesa, hosted past Dina for the Egyptian TV channel Al Qahera Wal Nas was also halted because it corrupted morals (Al Sherbini, 2015) (all the episodes are still available on YouTube though).
Raqs sharqi, nonetheless, notwithstanding survives in Arab republic of egypt and this land is still considered the state of this dance, even though it has now spread worldwide.
Practitioners travel to Arab republic of egypt to find the 'true' essence of Raqs sharqi (as investigated by Cooper [2015], training in Egypt is seen to confer authenticity to a dancer's practise) and Egyptian dancers Randa and Dina are cautiously optimistic with regards to the time to come of Raqs sharqi in Arab republic of egypt.
According to Randa 'this will non be the stop of Egyptian stars. The trip the light fantastic toe is in the blood of Egyptians' (Zahara and Shahin, 2012, para. fifteen) and Dina said in an interview (Sullivan and Farouk, 2006, sec. 1:37:29): The base, the master is hither. They tin can't work without us. Till now, I know, till now. . . .
The music is hither, the musician is here, the dancer is hither, the heart, the feeling, everything is here.
Next Page >> Belly Trip the light fantastic and the influence of foreigners living and working in Cairo.
Howdy – I'm Dr Valeria Lo Iacono and I am a dance researcher with a PhD in dance equally a grade of living heritage. I likewise teach belly trip the light fantastic toe and dearest to travel to discover new dances around the world. I accept worked also every bit an bookish and in the UK and in Korea. Thank you for visiting my site.
Source: https://worlddanceheritage.org/belly-dancers-egyptian-media/
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