Middle Eastern Dance and What We Call It
Bibliographic Data
| ID | 20458279 |
|---|---|
| Authors | Audrey Hawthorn (0000-0002-2021-2284, Yale University, Alumna, corresponding author), Ainsley Hawthorn |
| Year | 2019 |
| Volume | 37 |
| Issue | 1 |
| Pages | 1-17 |
| Publication date | 2019-05-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Dance Research (JOURNAL) |
| Journal identifiers | ISSN: 0264-2875 • E-ISSN: 1750-0095 |
| Publisher | Edinburgh University Press (PUBLISHER • GB) |
| DOI | 10.3366/drs.2019.0250 |
| OpenAlex | W2945301333 |
| Language | EN |
| Citations received | 4 |
| References cited | 2 |
This article traces the historical background of the term ‘belly dance’, the English-language name for a complex of solo, improvised dance styles of Middle Eastern and North African origin whose movements are based on articulations of the torso. The expression danse du ventre – literally, ‘dance of the belly’ – was initially popularised in France as an alternate title for Orientalist artist Jean-Léon Gérôme's 1863 painting of an Egyptian dancer and ultimately became the standard designation for solo, and especially women's, dances from the Middle East and North Africa. The translation ‘belly dance’ was introduced into English in 1889 in international media coverage of the Rue du Caire exhibit at the Parisian Exposition Universelle. A close examination of the historical sources demonstrates that the evolution of this terminology was influenced by contemporary art, commercial considerations, and popular stereotypes about Eastern societies. The paper concludes with an examination of dancers' attitudes to the various English-language names for the dance in the present day
Art · Art history · Ballet · Concert dance · Dance · Folk dance · Literature · Modern dance · Orientalism · Painting · Visual arts · Diversity and Impact of Dance · History · Sport and Mega-Event Impacts · Sports, Gender, and Society
| Citations per year | 0.57 |
|---|---|
| Citation span | 2019 - 2023 (5) |
| Highly cited | No |