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National literatures of Arab States. The first known use of the term "belly dance" in English is found in Charles James Wills, In the land of the lion and sun: or, Modern Persia Raqs sharqi 'Eastern Dance' or 'Dance of the Orient' is a broad category of professional forms of the dance, including forms of belly dance popularly known today, such as Raqs Baladi, Sa'idi, Ghawazee, and Awalim.
The informal, social form of the dance is known as Raqs Baladi 'Dance of the Country' or 'Folk Dance' in Egyptian Arabic and is considered an indigenous dance. Belly dance is primarily a torso-driven dance, with an emphasis on articulations of the hips. Although some of these isolations appear similar to the isolations used in jazz ballet, they are sometimes driven differently and have a different feeling or emphasis. In common with most folk dances, there is no universal naming scheme for belly dance movements.
Many dancers and dance schools have developed their own naming schemes, but none of these is universally recognized. The following attempt at categorization reflects the most common naming conventions: [ 17 ]. In addition to these torso movements, dancers in many styles will use level changes, traveling steps, turns, and spins. The arms are used to frame and accentuate movements of the hips, for dramatic gestures, and to create beautiful lines and shapes with the body.
Other movements may be used as occasional accents, such as low kicks and arabesques, backbends, and head tosses. Belly dancing is believed to have had a long history in the Middle East. In his book, Andrew Hammond notes that practitioners of the art form agree that belly dance is lodged especially in Egyptian culture, he states: "the Greek historian Herodotus related the remarkable ability of Egyptians to create for themselves spontaneous fun, singing, clapping, and dancing in boats on the Nile during numerous religious festivals.
It's from somewhere in this great, ancient tradition of gaiety that the belly dance emerged. Belly dancers and singers were sent from all parts of the vast empire to entertain. No free woman could perform in public due to the Islamic sex segregation , but female slaves were trained to entertain male guests in singing and other art forms, such as the qiyan slave artists, who became common during the era of slavery in the Umayyad Caliphate.