By Valerie Larkin (Extract from Dance news Ireland, January 1995)

I am a professional bellydancer. I am also a teacher of this ancient art. I thoroughly enjoy my job and the travel that goes with it. I have danced in many countries including Brazil, Turkey and Tunisia and as a result of my interest in Arabic dance and music I am learning to speak Arabic. I feel I am experiencing aspects of life most Irish women do not enjoy.

Why is it then that my job description brings forth hoots of laughter from many Irish so-called dance professionals including teachers?

The chief culprits, in my experience, are teachers of classical ballet whose only concept of dance is that of the classical ballet tradition. Do these critics not realise that bellydance is at least 5,000 years old? Compare that to the history of classical ballet and most forms of western dance and their heritage pales into insignificance. The strange thing is that this form of dance snobbery seems to be peculiar to Ireland.

I have danced in many countries, including England, wherL many bellydance professionals and teachers of this art-form have come from the world of classical ballet, modern, jazz, contemporary, international fold dance etc. May I say here that I am a fully qualified ballet teacher myself. Ballet training has been good to me and from it I have gained discipline, a willingness for hard work and - most important of all - the ability and qualifications to teach dance.

In explaining what bellydancing is, it's origins and background, I have found that the most effective way is to explode some of the more 'popular' myths which surround it.

Myth No. 1 - It's title

The word "bellydance" was never invented in the Arabic world. The correct title for this form of dance is Raksharki, which also refers to a particular type of music, i.e. the music danced to. How did the name come about then? During the 19th century an Egyptian dancer was engaged to perform at a trade exhibition in Parish. She was billed as Little Egypt11. When asked what her style of dance was called, "Little Egypt" replied "Baladi" (pronounced Bel-a-dee). The name was mistranslated as bellydance and has been used ever since.

Myth No. 2 - Bellydance is simply sexual titillation devised to entertain men.

Bellydance was developed by women for women and even today there are many Muslim women who will never perform in front of men. Why do they do it then? Dance is a celebration of life to music and rhythm. When women come together to bellydance they are celebrating the life in themselves and all about them. If all you see is wiggles, wobbles and the dancer's bust being stuck under your nose provocatively, then you are definitely not seeing good bellydance.

Bellydance is erotic. It is sensual. It is above all extremely graceful and when done well is the most beautiful form of dance to watch. It is very hypnotic and should remind you of a snake, whose movement the dancer is imitating. The symbol of the snake is central to bellydance. In the eastern world it represents power and wisdom. Is there any wonder that this exquisite ancient art became the prerogative of women!

Myth No. 3 Bellydancers are always big fat and busty.

Bellydancers vary in size and shape from country to country and age to age, as do all women. I mysel'f am a petite size eight and Turkey has a vary large number of slim dancers. The reason that some are big girls with big stomachs is simply that it is fashionable to be that way. In some countries big is beautiful. I know of many large Egyptian dancers who are incredibly light on their feet and have the beautiful arm and head movements. Their size does not detract from their performance.

The beauty of bellydance is that women of any size and shape can learn it. Bellydance has the distinction of being one of the safest forms of exercise available, particularly for women with back problems. To succeed with bellydance a woman must be comfortable in her own body regardless of it's size or shape. She must, above all, be comfortable with her femininity, for bellydance is in essence a feminine art.

Myth No. 4 - Bellydancers are always scantily clad.

The dress code varies from country to country. In Egypt, a dancer performing Baladi will be fully covered, wearing a Baladi dress which is usually ankle length. When dancing classical, however, she will be bare in the middle and will use a veil, the type of costume worn being determined by the music.

Myth No. 5 - Only Middle Eastern women can perform and teach bellydance.

Some of the greatest teachers of bellydance are British and American. As with any performing art the most important element of dance is technique. If one is to rely on feelings and emotions there is nothing to carry the dancer through a performance when she is having a 'bad night'. Technique must be in reserve. A good bellydance teacher must understand what she is teaching and the technique involved, and be able to translate this to her students. It is not enough to perform an action and expect a student to copy. The teacher must come down to the level of the complete beginner who is battling with the body against stiffness, awkwardness and a distinct lack of style or grace. My job as a teacher is not just to demonstrate steps or arm, head and chest movements. I am there to help these women get in touch with their own bodies, to work better, and to enjoy dance.

Last, but not least, is the fun element. Bellydance is great fun. It is glamorous and exciting and best of all, extremely rewarding.

Valerie Larkin

Dance News Ireland, Jan. '95