American Dancer Belly Dancing Story

An American belly dancer makes a living dancing as a professional Middle Eastern dance artist in Southern California. Based on a true story, Anisa performs at nightclubs and restaurants in Hollywood and Los Angeles nearly 2 years, immersing herself in the culture of the Middle Eastern and Arab world. She soon knows the top ten hits from Egypt as well as the popular western music she grew up with. In large print and suitable for most ages to enjoy. There is no profanity, no violence nor violent imagery. A great book for high school classes, college and library collections and a glimpse of an often misunderstood art and culture.

Dancing, Dating & Culture with a Twist. Based on a true story, an American belly dancer immerses herself in the Middle East and Arab entertainment world in 1980 Hollywood California. She is pursued by Arab and Armenian men from Egypt, Lebanon, Saudi Arabia and Iran but remains focused on her dance career. Humorous and entertaining, this is a welcome glimpse of an often misunderstood art and culture. Includes photos of past and present stars of Middle Eastern dance and music. Content is suitable for all ages. This novella is a great book for high school classes, college and library collections. There is no profanity nor violent imagery.

"The Belly Dance Book is a collection of articles by 17 top belly dance writers. This is the nuts & bolts of belly dance with articles on history, current events, costuming, make-up, spirit, music, product reviews and more. Great for dancers of every level, and anyone interested in dance, costuming, history or theater."--Amazon.com viewed Feb. 24, 2021.

Focusing on Egypt during the period 1760 to 1870, this book fills in some of the historical blanks for a dance form often known today in the Middle East as raqs sharki or raqs baladi, and in Western countries as "belly dance." Eyewitness accounts written by European travelers, the major primary source for modern scholars, provide most of the research material. The author shapes these numerous accounts into a coherent whole, providing a picture of Egyptian female entertainers of the period as professionals in the arts, rather than as a group of unnamed "ethnic" dancers and singers. Analysis is given of the contexts of this dance--that was a legitimate performing art form in Egyptian society appreciated by a wide variety of audiences--with a focus on actual performances--and a re-creation of choreography.

Belly dancers are often used in Europe and America as symbols of a sensuous and exotic Orient. They appear in Orientalist paintings, novels, movies, and even cartoons. We tend to assume that these portrayals accurately reflect the dance as it is practiced in the lands of its origin; in reality they perpetuate a number of erroneous stereotypes: Belly Dance is the dance of the haremIt is a dance of seductionIt is only performed by women for menOnly young women perform the danceBelly dance has no culturally sanctioned role within the modern Middle East. All of these stereotypes are at least partially incorrect. In reality, belly dancing plays an integral role in both westernized and traditional Middle Eastern women's lives, in which--according to anthropologist Karin Van Nieuwkerk, who has done extensive fieldwork with professional belly dancers in Cairo-- "singing and dancing are essentially regarded as expressions of rejoicing." She explains; "entertainers are central to the most important occasions in people's lives, such as births, engagements, and weddings. A celebration without performers is not a real celebration."This book explores the history of belly dancing's origins, development, and dissemination as well as its cultural relevance today in the Middle East and beyond.

In these essays, dancers and scholars from around the world carefully consider the transformation of an improvised folk form from North Africa and the Middle East into a popular global dance practice. They explore the differences between the solo improvisational forms of North Africa and the Middle East, often referred to as raqs sharki, which are part of family celebrations, and the numerous globalized versions of this dance form, belly dance, derived from the movement vocabulary of North Africa and the Middle East but with a variety of performance styles distinct from its site of origin. Local versions of belly dance have grown and changed along with the role that dance plays in the community. The global evolution of belly dance is an inspiring example of the interplay of imagination, the internet and the social forces of local communities. All royalties are being donated to Women for Women International, an organization dedicated to supporting women survivors of war through economic, health, and social education programs. The contributors are proud to provide continuing sponsorship to such a worthwhile and necessary cause.

An accessible in-depth guide to Celtic water lore, including spells, rituals, water spirits, and merfolk Let Annwyn Avalon, a practicing water witch herself, take you into the world of water magic. The water magic and lore in this book focuses on the Celtic tradition, but draws on other water magic traditions as well, and features rainwater, as well as lakes, rivers, oceans, canals, swamps, and other watery locations, together with the folk and magical customs that have been and are still practiced at these places. The book teaches the reader how to set up a water altar at home, how to connect with water spirits, and how to gather or create water witch tools. Readers are encouraged to visit local water sites but will also find an abundance of material to perform at home. Included are practical examples, visualizations, and exercises so any reader can start to take up spell work and establish their spiritual connection to water.

This book examines the globalization of belly dance and the distinct dancing communities that have evolved from it. The history of belly dance has taken place within the global flow of sojourners, immigrants, entrepreneurs, and tourists from the nineteenth to the twenty-first century. In some cases, the dance is transferred to new communities within the gender normative structure of its original location in North Africa and the Middle East. Belly dance also has become part of popular culture’s Orientalist infused discourse. The consequence of this discourse has been a global revision of the solo dances of North Africa and the Middle East into new genres that are still part of the larger belly dance community but are distinct in form and meaning from the dance as practiced within communities in North Africa and the Middle East.