There is much debate over where and when men became part of the belly dance world. Many believe that men have no place in this art form, which is frequently and erroneously believed to be historically female.
However, dancers such as Morocco (Carolina Varga-Dinicu), Tariq Sultan, Jasmin Jahal, and Laurel Victoria Gray have produced ample evidence to the contrary.
Pictorial evidence in the form of Turkish miniatures made during the Ottoman Empire show public performances being done by young men and boys called köçeks. These dancers were widely popular; in fact, the Sultan employed a troupe of these male dancers in addition to a troupe of female dancers, (Metin And: A pictorial history of Turkish Dance).
It has long been assumed that these dancers were female impersonators, due to the fact that they performed in wide flamboyant skirts. A comparison with the female dancers however, shows that this was merely a costume worn for the dramatic effect caused by the swirling fabric. The female dancers did not wear specialized costumes at this time, but the ordinary dress of all women, which consisted of a pair of "harem pants", a long shirt, tight fitting vest covered by a flowing robe tied at the waist by a belt or shawl.
Nevertheless, some of these male dancers did at times impersonate women. This was because they were not simply dancers but musicians and actors as well. As was the case in Shakespearean times, all dramatic roles were played by males since women were not allowed to entertain in public.
These dancers were so popular that fights often broke out over which troupe was considered the best. These upheavals were so frequent that they resulted in such performances being banned for a period of time during the 1830s. Eventually the ban was lifted, but the decline of the Ottoman Empire, together with a push for modernization and the adoption of western tastes led to the eventual decline of such performances in Istanbul as well as other countries of the Empire such as Egypt. Eventually, due to tourist demand, their place was taken by female entertainers.
Köçek dancers can still be found in the rural communities of Turkey, most notably in the region of Kastamonu. They have even begun appearing on television variety shows and on DVDs throughout Turkey.
The current professional version of raqs sharqi, developed in Egypt in the 1930s, was deliberately designed to display an idealized notion of feminine grace beauty and glamor. Even so men continued to play a behind the scenes role in its development. Many of the most renowned choreographers and coaches are in fact men, such as Ibrahim Akef (cousin of the dance star Naima Akef) and Mahmoud Reda (founder of the renowned Reda Ensemble, the first theater dance troupe of Egypt).
The current trend of male performers of this dance form started in the '60s and 70s in the United States by such performers and teachers as Ibrahim Farrah (an American of Lebanese descent from Pennsylvania), Roman "Bert" Balladine and John Compton to name a few.
Today male belly dancers are becoming more visible, not only in the United States, but around the world. These modern performers have even began to resurface in the Middle East in Greece, Turkey, Lebanon and Egypt. Most male dancers face artistic as well as social challenges. Such issues as whether there are or should be differences in costuming, attitude, and the dynamics of choreography between male and female belly dancing is a subject of debate among both male and female dancers.
Given the recent boom in interest regarding belly dance, a new generation of male dancers has embraced the form. Although still small in number compared to their female counterparts, their numbers have grown dramatically in the past 20 years. Other male belly dancers across the globe have made an impact on this dance form, most notably Horacio Cifuentes, who now resides in Germany and who has infused his ballet background with various types of Middle Eastern dance to create an impact on both male and female belly-dance styles. Tarik Sultan of New York has made a great contribution in the documentation of the history of the male role in the dance. |
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His article "Oriental Dance, it isn't just for women any more", is one of the most historically and culturally accurate article on the subject.Also, Dr. Anthony Shay, the author of Choreophobia, in his article "The Male Dancer", tackles the myths that the dance is a strictly female form and that men who did perform it were only imitating women.
He offers historical and cultural sources to show that men have always been present in Middle Eastern dance, not only on the social level, but in the professional arena as well. Many dancers are now fast gaining recognition around the world as a dancers of exceptional skill such as; Egyptian male dancer Tito Seif, who performs in the Red Sea resort of Sharm el Sheikh; Syrian male Dancer Jamil and Shiva, renowned performers in Sydney, Australia; Israeli born Asi Haskal, who holds many concerts in Israel.
Regardless of occasional opposition both within the dance community by those who see the dance as an expression of female power, or those who view professional performances of this dance as "a woman's job", the number of male dancers around the world is growing and enjoying more acceptance.