Belly Dance as a Global Phenomena: Orientalism, Western Adaptation, and the Transformation of Cultural Expression
Overview
This paper examines belly dancing as a global phenomenon, tracing its introduction to the United States at the 1893 Chicago World's Fair and its subsequent transformation. The author analyzes how Western dancers like Kaya and Sadie have incorporated orientalist elements into their choreography, arguing that modern American belly dance represents a departure from Middle Eastern traditions and reflects Edward Said's concept of orientalism.
What this essay covers
- Historical introduction of belly dancing to America and its evolution from spiritual practice to expression of feminine power
- Analysis of orientalism and self-orientalism in contemporary belly dance choreography through the example of Kaya and Sadie's performance
- Comparative examination of Turkish belly dance traditions and their influence on modern Western belly dance styles and costumes
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Belly Dance as a Global Phenomena
In 1893, the Chicago World’s Fair, organized by Christopher Columbus, introduced belly dancing in the United States. The introduction was done through a solo act that characterized the main belly dancing (Shay 10). The dancing style varied considerably between each individual. After its introduction, American women used belly dancing to express their feminine power as time changed, unlike the spirituality considered in prior times. Belly dancing was learned by watching older women dancers. Over the year, the dance has transformed as new styles are incorporated into the American belly dance. Fast belly dancers like Kaya and Sadie learned the dance from school rather than older women. They also practiced a duo dance with the same styles and movements initially not present in belly dance.
The dance portrayed by Kaya and Sadie on America Got Talent is a fast pace drum solo. It is characterized by sultry in minimal clothing, which is unconventional in Middle East traditions. The dance exhibits assumed sexuality of the Middle East, developed over time by Western scholars. Edward Said refers to the globalization of this imagined version of the Middle Easterners as orientalism (Mansbridge 33). In Kaya and Sadie’s dance choreography, several elements of orientalism are incorporated in the choreography. The concept of self-orientalism is seen in combining romance and orientalist ideas and distorts the dance’s original context. Through Kaya and Sadie’s romantic dance choreography, they propel exoticism.