As the daughter of an avid semi pro Belly dancer, I had the good fortunate to get an early education. Belly dance and music were the central activities of my family and by seventeen I was working professionally. After six years time, my career took me overseas where I have worked for four consecutive years and counting.

Having a measure of experience, I often get requests from up and coming dancers, who are interested in working abroad and ask for knowledge on industry practices overseas. I will address the commonly asked questions as well as touch on issues that anyone considering this step should be aware of in the “Dancing Abroad…” series of articles.

Who is involved in the dance industry? Dancers, managers, talent agencies and clients.

How do they work together? There are variables, but most often this is the relationship structure; the client is the entity that has a venue and need. The client procures an agent. The agent has a roster of acts, some of whom fit the specifications of the client. The agent offers the client those acts for consideration. The client chooses the dancer that interests him. The agent makes an offer to that dancer. If she accepts, she enters into a contractual agreement with the agent.

Who pays who? The client pays the dancer's salary and expenses as well as the agent. The agent may also choose to take a monthly percentage from the dancer’s salary (this should not exceed 10%). If the dancer has a manager she pays him, and his expenses should he accompany her on the contract.

Who are the clients? Hotels, Casinos, corporations, amusement and theme parks, private clubs, cruise ships…

Why do clients hire dancers? 5 star hotels and resorts are main employers. They are mini cities unto themselves. They have multiple restaurants and bars, a nightclub, swimming pools, a spa, a salon, shopping, and business services... The hotel anticipates and attends to every need their guests may have and this includes the desire for entertainment. Other venues operate under the same motivation.

Why do clients hire foreign dancers when they can hire locals? The short answer is you want what you don’t have. Also, we are a world steeped in classism, and racism. This is especially prevalent in certain countries, India being a prime example. A young, beautiful, Caucasian American is creme da la creme in contrast to her Indian counterpart in India. Race and nationality lend an ‘upper crust’ status which many clients take pride in advertising.

What is the typical duration of employment? There are one time events. These clients can be public or private and can have a vast range of purpose, such as an awards ceremony, New Years Eve, or a concert. There are short term contracts; these are one to three month engagements. And there are long term contracts; six months to one year and longer.

Do clients hire dancers directly? It happens but is not prevalent.

How can I get a crack at these jobs? Get an agent, if possible get several agents.

How do I get an agent? By auditioning via your promotional packet. The internet has revolutionized our ability to connect on a global scale. If you want to work in a certain country, Google for Talent agencies in that region. Visit the website of the agency you want to be represented by and check out their application page. They may not be accepting new submissions, they may require certain details and have a very specific process. There is nothing that will get your promo packet in the garbage faster than not taking the time to follow their instructions on submittal.

What should be in my promotional packet? Your promotional packet is what you use to get your foot in the door and demonstrate that you are a marketable product. The quality of your promotional material MATTERS. Sorry, but it costs money to make money.

COVER LETTER – This is your chance to address the agency directly. Keep it brief, three paragraphs max. Identify yourself, where and how you found out about them and what you are after. What you have to offer will be demonstrated in the rest of your materials. Tip: don’t start with “To whom it may concern”, or “Dear sir or madam”. Take the time to research an agent’s name, this can usually be found on their website.

RESUME AKA CV – Unlike a resume for a ‘straight’ job, a dancer’s resume includes date of birth, height, weight and nationality. While we may feel inclined to fib about 3 out of 4 of those things, I don’t advise it. There is a distinct possibility that you will be sent home immediately if the reality and the specs are significantly different. You’ll never get work from that agent or client again and you’ll only succeed in damaging your reputation.

Your resume is ‘proof’ that you are desirable and employable. It should highlight your exemplary work as a performer. Listing every dance job you have ever had is inappropriate (unless your work experience is limited). So is focusing on your experience as an Instructor. You are not applying for a teaching position. Keep it clear, concise and relevant- when, what, who and where. If you have worked in co- operation with local entertainment agencies, like a telegram service, be sure to indicate that along with the listing(s).

Oriental dance does not *yet* have known educational institutions/individuals outside of the Middle Eastern dance scene. Listing every ‘big’ name instructor you took a workshop or class from is a waste of time, it doesn’t mean anything to your reader. Instead indicate your length of training and in what style(s).

If you have won awards, titles, honors, or have special credentials include that information in its own section. If you have additional skills and talents i.e. instructing, choreographing, prop use, can play an instrument or sing put that on your resume as well. It’s not necessary to pad, so avoid putting talents in this section that you can’t actual manifest.

Lastly you should list three references. They will be checked so keep the contact info current and make sure your references know someone may contact them and why.

PROFILE – This is where many a dancer takes a nose dive. Cut out the FLUFF ladies! Raving on and on about your mesmerizing, crowd stopping, super duperness is not where it’s at. An agent spends a whole lot of time reviewing promo packets. He or she wants the facts. When you write your profile keep is straight forward and relevant. Write for your audience. NO - Her talent in dance was so immense that it catapulted her to stardom in the California dance scene. YES - Her talent in dance earned her the title “Miss California of Belly dance” and a subsequent interview with DANCE magazine. You need to back your writing up with facts and recognition by entities other than yourself.

PHOTO & DEMO VIDEO – this is where the meat, no pun intended, of your promo packet lies. You need to include one 8x10 professional quality photo. It can be ? or full length and needs to clearly show your face and body. Your demo video is the most important element in your package. It should be 5 minutes in duration, no longer. It should be footage in front of a live audience. An agent wants to see how you perform for people not the camera. The content should display your entire repertoire, at your best, in a range of costumes. The footage itself needs to be good. No hand held, shaky home video with sub par lighting. It also needs to be professionally edited. You can find a decent editor for around 75 dollars an hour.

PRESS & TESTIMONIALS – if you have press clippings, interviews and the like, make photo copies and include it. If you have testimonials from past clients or noteworthy entities include those as well.

Spell check! Sign your cover letter. Put your name and contact information on everything in your packet. Paper clip all the papers together in order. Note: use high grade resume paper for all print outs. Buy a nice folder, put your photo in one sleeve and the papers in the other. Most folders have a pocket for a business card, put one there. Label your demo video. Putting your demo in DVD format is optimal. Compared to the weight of a VHS tape it lessens mailing costs and if your demo is in video format you may need to convert VHS to PAL depending on where you are sending it. That costs around 15 dollars, not expensive but a hassle.

I sent my promo package, now what? The agency will review your submission and contact you of their own accord either expressing interest or saying thanks but no thanks. OR after a respectable amount of time you contact the agency regarding your status (some are very adamant about not telephoning – again read their application page).

A promo packet is expensive, can I get it back? Some agencies will return packets IF you include a postage paid, self addressed envelope with your submittal. If they are willing to do this it will be stated on their application page. But many will not, it’s an unavoidable expense of marketing.

What does a Manager do? A Manager can play many roles, but simplistically he or she advises and counsels you about every step and faucet of your career. He or she accompanies you on contracts and acts as ‘protector’ of your interests.

Do I need a Manager? It’s not a necessity; it’s more of a luxury. It’s also a hefty expense. You are responsible for covering his or her costs as well as payment for services.

How do I get a Manager? As with Agents, Manager’s choose the talent. They must believe in you to consider taking your career on. It can be a full time job. Dancer’s that are a cut above and already established are the ones that elicit interest.

For a continuation of the topic visit the next installment "Dancing Abroad – The Dangers".

Having a measure of experience, I often get requests from up and coming dancers, who are interested in working abroad and ask for knowledge on industry practices overseas. I will address the commonly asked questions as well as touch on issues that anyone considering this step should be aware of in the “Dancing Abroad…” series of articles.

Salome has been dancing since she was a child. At 21 her career transitioned abroad. With representation by "Rising Stars", "Classic Models", and "Showhouse" (among others) she has worked exclusively overseas in a near successive string of short and long term contracts. Learn more about Salome and oriental dance at www.orientaldancer.net.

Now that some of the mystery has been laid bare in “Dancing Abroad – The Players” let's get to the risks. The entertainment industry is littered with the bodies of hopefuls who, in an effort to 'make it' are exploited. Accepting a dance engagement in a foreign country has inherent risk on many levels - from your physical safety to your business interests.

With the advent of internet – unsolicited offers to work abroad as a dancer make the rounds. While it is flattering and exciting to receive an invitation it needs to be tempered with even headedness and reality.

I have been offered a dance job with consummation duties, what does that mean? Consummation contracts are common and prevalent in nightclubs and lower star hotels. A woman performs several short dance routines throughout the night. During the lengthy intervals of her 'show' she sits with the guests and encourages them to buy her cocktails. For every cocktail a guest buys she earns a percentage of the sale.

Some women enter into this arrangement knowingly. However many women are duped, believing they were hired for a dance contract in beautiful Cyprus or Japan but find themselves in a front for prostitution. It’s successful because women from poor countries are targeted, who have no means to buy a return ticket home. While America isn’t a poor country, your circumstances may be such that you find yourself stranded in a nightmare.

Consummation is an industry term and an agent may use it in his offer. If not, take note if there is mention of guest contact or interaction. Take note of the length of time you would be expected to be in the nightclub. A legitimate performance contract will not have an 8 hour schedule.

I have been offered a dance job with animation duties, what is animation? There is nothing sinister about animation, even though its focus is on guest interaction. It's on the up and up but it's no performance contract. Many 5 star resorts and hotels have an animation team comprised of men and women. Their duties include things like performing aerobics poolside, leading sports activities, dining 3 times a day with the guests, perhaps teaching a class. In the evening the animation team performs a “house” show. The choreography, theme and costumes are provided by the hotel. You would need a strong back ground in ballet and jazz to qualify.

I have been offered a dance job abroad, is it a scam? Dancers audition for agencies not the other way around. But occasionally a client will request an act that the agency doesn’t carry. In this instance the agency may solicit dancers with an open call. A legitimate agency contacting you with a need will spell out specifics. They actually have a job they are interested in hiring you for. Or you may have come into an agencies line of vision, they want to evaluate your promotion and if they like what they see, have you on file.

However, open calls are usually from wannabe agents trying to break into the industry themselves and are looking to build a roster of acts. Be wary! At the very least, there is an extremely high risk of incompetence. And you must consider the possibility of grave danger. With no track record, they could be anyone up to anything. Stories of slavery and forced prostitution have a basis in reality.

How can I limit my risk of getting involved with an unsound entity? In the first article I talked about how the system of employment generally works. Successful agencies have clients that they regularly supply entertainment to and these are the agencies you want to target. Not the ones that are desperately casting about with vague offers.

How can I ascertain an agencies legitimacy? Risk always exits. But there are some clues that will help in making a determination. How long has the agency been in existence? Established agencies have a track record, one you can check out with a little investigation. Who are their clients? Major airlines, hotels and cruise ships, Coca Cola, IBM? Big time players will work with competent agencies. And finally get references of foreign dance artists that have worked with them and CHECK them out.

No agencies will pick me up, what's wrong? Some people get picked up with relative ease and quickness, for other's it takes time before they can land an agent. Also (and please don’t shoot the messenger) you may not be the kind of act that is employable in this line of work. Rightly or wrongly, in this business they want slim, young, and beautiful. Those are top priorities for clients and agents know it. If you don’t fall within those boundaries you'll have a hard time bucking the system.

What if I am confident in an agency and they have made me an offer? After years of training, paying your dues and developing into a caliber performer, thousands of dollars worth of costuming and promotion later you have reached a milestone. Let me say both congratulations! And hold your horses. You feel giddy and exhilarated at having made it to this point. However the making or breaking of you comes next – the CONTRACT.

What do I need to know about contracts? First of all I am not a lawyer. I have the good fortune to have one in the family who consulted on all of my early contracts. But my advice is just that, mine. When in doubt, consult an attorney. The only thing worth anything is your contract. Understand that and believe it. You may be afraid to negotiate. You may be so excited at the prospect of performing abroad that you fear setting terms will lose you the job. If it does, GOOD. Believe me when I say if that is the case you would have come out the other side of that contract broken. If you accept a contract that entails sizeable risk to you I have no pity for your hard times. Sorry, but if you are not strong enough to set boundaries and protect yourself in this business you have no place in it.

The purpose of the contract is for both parties to detail expectations of one another and in this end and most importantly to limit risk. The initial contract offer will (most likely) put moderate to enormous risk on you while limiting the liability of the other party. Your job is to examine each clause in the contract, weigh the risk to you and counter offer.

Also no point should be left out or unspecified. For example, you have come to an agreement on services and salary. That's great but not enough. When will you be paid, how, in what currency? What if the show is cancelled for a holiday, in-service or no guests come? You need to specify each point to limit unsavory ramifications.

A contract is a binding agreement regardless. For that reason you might consider adding an act of god clause in your contract, consult an attorney for specific wording. I have been through SARS, a violent Maoist revolution in Nepal, the tsunami in India… An act of god clause will release you from contractual obligation (if you so choose). It leaves the option open if things get hairy.

Don’t expect negotiation to be easy. You will be pushed to accept the contract in its original form because that's in their best interests. 'They' are also prone to making one verbal agreement yet having a different agreement in writing. Remember what I said, the only thing that means anything is your contract. Understand that and believe it. Let’s go through a few examples of what your negotiation process might look like.

AGENT SAYS “The artist will stay in the performance area only during her performance time, unless the hotel management makes a specific request.”
SALOME SAYS - The hotel management can make a specific request for you to take your top off and give a lap dance to a guest, or for you to cocktail waitress or to clean the bathrooms. The nature of the request is a blank. Blanks equal risk to you. Never ever assume that 'they would never...'Your counter offer might read: “…unless the hotel management makes a specific request for her to sign autographs or pose for pictures with guests in her costume.”

AGENT SAYS“The artist should venture out of the Hotel only with an escort from the Hotel or the agency, only after approval of the agency”
SALOME SAYS - This isn't unusual; in some areas of the world an escort is necessary for your own safety. However “only after approval of the agency” gives the agency complete control to restrict your movement. Your counter offer might read: “The artist should venture out of the Hotel only with an escort from the Hotel or the agency. The agency is responsible for providing 3 excursions outside of the hotel per week. A week is identified as 7 consecutive days. The agency will accommodate the artist, above the 3 excursions per week, when she has an immediate need to leave the hotel grounds.”

My purpose is not to make you replete with concerns. Actually, yes it is. I want you to think over each word on that piece of paper and imagine how it can be used against you. If you can't come to agreeable terms and conditions in writing do not fool yourself into thinking it'll be different when you get there. It won't. And what's more you will have set yourself up to be exploited. While there are a few agents that operate with honor the majority is dog eat dog. You will be tested. The contract negotiation is the first try. Stick to your guns.

For a continuation of the topic visit the next installment "Dancing Abroad – The Bare Minimum".

Now that some of the mystery has been laid bare in “Dancing Abroad – The Players” let's get to the risks. The entertainment industry is littered with the bodies of hopefuls who, in an effort to 'make it' are exploited. Accepting a dance engagement in a foreign country has inherent risk on many levels - from your physical safety to your business interests.

Salome has been dancing since she was a child. At 21 her career transitioned abroad. With representation by "Rising Stars", "Classic Models", and "Showhouse" (among others) she has worked exclusively overseas in a near successive string of short and long term contracts. Learn more about Salome and oriental dance at www.orientaldancer.net.

So far we've covered the players, some of the risks now we are getting down to what every first timer wants to know. This Q and A does not cover every point that should be covered in your contract. However it does list the basics, so without further ado…

Does the client pay for my international travel? Yes, the client pays for your international round trip airfare. Either you or the agent will make the reservation. The client will pay for the ticket. Depending on the arrangement the round trip tickets will be couriered to you, you may retrieve them from a travel agent or at X airline desk at the airport.

What about domestic travel at the country of destination? The client pays for all necessary domestic travel in the country of destination. This includes but is not exclusive to; transport from the airport to accommodation upon arrival and departure. Transport to your place of performance and back to accommodation. All round trip long distance domestic travel to reach your place(s) of performance and to accommodation. It is your responsibility to indicate what standard of transport you will accept. Don't assume you will be whisked around in an air conditioned luxury car. You need to specify it. Also it isn't the client's responsibility to run you all over town to satisfy your personal agenda. If you want to go to the movies or shopping they can be accommodating but are not out of line to refuse.

Who pays for my visa and what type should I get? The client pays your visa fees. You can demand money (the exact amount) for said fees or take the risks of being reimbursed. If reimbursed save your receipt and remember to take it with you. Oft times an agent will direct you to apply for a tourist visa even though you will be working in a foreign country. 'They' like to do this because it saves them money come tax time. However you are the one who will be penalized if caught. This can be immediate deportation with future refusal of admittance to that country. Bribery is the law of the land in many parts of the world and it's possible that you and the officials could come to an agreement. But then again maybe not. If you refuse to apply for a tourist visa, understand that the agent must prepare special documents in order for you to apply for a performance visa; you will need his co operation. It’s not as simple as checking the box on the visa application.

Does the client pay for my food? The client pays for three meals a day plus non alcoholic beverages (including bottled water during performance periods). This usually works out in one of two ways. Some provide a food allowance in cash. Figure out how much an average meal is in that country x 3 to be sure the figure offered is adequate to cover you eating expenses. The other method is eating at the restaurant of the venue you are performing at and or living in.

Does the client provide accommodation? The client provides accommodation from the moment you step off the plane until the day of your departure. There are two acceptable ways accommodation is provided. Either you live at a hotel (often the same one in which you perform) or you are provided an apartment. I cannot stress enough how important it is to be specific when it comes to lodgings. You need to spell it out in black and white – three star international standard or better, private room, double bed with a set of linens, pillows with pillow cases and blankets. Room must have air-conditioning and heat. Room must have a window and door with a working locks. There must be running hot and cold water, a private bathroom and toilet. You get the idea. While it may feel ridiculous to insist on all of these details it isn't. If you simply accept “client will provide accommodation” that is a blank and remember what I said in the previous article, blank equals risk to you. You don’t know what the accommodation is, it could be a dormitory with 80 other people and no privacy, it could be the client's house, it could be a seedy shit hole on skid row crawling with roaches.

Does the client provide medical insurance? Most clients offer medical insurance that will cover everything except dental and pregnancy. However some don't. On short and long term contracts it's very probable that you will need to seek medical treatment at least once. I would insist on medical.

How do I rate my time? The length of the engagement dictates how your time is rated. If it is a one time engagement you will be paid on a fee basis. If it is anything other than a one time engagement you will be paid on a salary basis.

How much should I charge? When you are first starting out you are afraid to ask too much and loose an opportunity and at the same time don't want to under sell yourself. If you ask 'too much' rest assured there will be a counter offer. The chances are slim that your quote will stop negotiation entirely. Unless it's your bottom line and the client isn't willing to pay it.

Dancers always want to know what other dancers are making, to have a scale by which to follow. But I’ll let you in on a little secret. There is no standard pay scale. The closest (generic) measure would be dancers from different parts of the globe accept a figure that means something to them based on the economics of their country. Eastern European dancers often accept 300 to 700 hundred dollars a month. That's a figure that would be neigh impossible to earn back home. American dancers usually start at 700 dollars and go upwards. This is no hard and fast rule, just a commonality.

Contrary to what you might think a dancer working for 300 dollars a month is no threat to you earning 4 times that for the same type of position. Sound crazy? Well it isn’t. There are clients who look for bargain basement prices. They will always exist and so will the dancers willing to work for them. And there are clients who insist on hiring the upper echelon and believe the more expensive the product the better it must be.

Ok, ok since you are twisting my arm… Stars command high rates but until you reach that status you will probably be working, realistically, between a range of 800 and 1,500 USD for salary. Mind you, I am not saying what you should charge but what clients will most likely be willing to pay for you at this stage. If you are willing to take a job for less or can get more, the ball is in your court.

How do I figure my salary versus my fee? You don’t multiply your fee x 30 days to figure your salary. And you don’t break your salary down by day to figure your fee. Decide on your minimum salary, for example 1,000 USD. Then weigh the expectations of the job. Are you dancing one twenty minute set a night or two hour long sets a night? Are you dancing in the same place or are you expected to travel hither and yon? Decide what your time and effort, specific to the offer, is worth to you and add on accordingly. Your fee will be high in comparison to your salary. For example, you may command 300 or even 600 USD for a one time show. Clients will be prepared for the contrast in salary and fee, this is a standard practice.

I make good money with my straight job at home, these rates aren’t sufficient. Hollywood does turn out the Julia Roberts and Brad Pitt’s that earn enormous money. But there are also the soap opera and commercial actors that earn enough to get by. Same, same. If you have dreams of becoming wealthy, sorry to disillusion you but the chances that you will command 10,000 a performance are 1 in a million.

This is also an unpredictable business and it takes 100% of your time to be a career dancer. If you have financial commitments, like a mortgage, taking a few short contracts a year and maintaining your day job may be more your speed.

I have been offered a short/long term contract, what about laundry? If your accommodation is in a hotel, laundry services should be provided by that hotel. If you are put in an apartment there should be a washer, free for your use, on the premises. If neither of these appy, make a provision for laundry service to be provided upon need free of charge.

What about security? Security, to varying degrees, is necessary and you should stipulate its provision during performance times. I don’t care how upscale an event is, when there is alcohol involved (and there usually) someone needs to be on top of it and watching your back.

In the first article you said a dancer enters into a contract with the agent, why do you keep saying the client pays for…? If, god forbid, you took a contract with an agent who has no specific job but sells your act to different bidders while you’re in country, then the Agent IS the client. If an Agent is contracting you for one specific client – the client is the one who foots the bill. But the agent is the one usually made responsible for administrating most of the terms and conditions. Whoever is named at the beginning of the contract is the entity who is responsible for paying you and your expenses unless otherwise noted in your specific agreement. I used the term “client” to indicate that entity.

Now that you have an idea of the basics you should demand, let’s get a tiny idea of what the client may expect from you. Note: if you are performing in a source country there will be specific performance and cultural expectations that you must be prepared to oblige. If you don’t already know what those are you probably are not ready to work there.

MUSIC – They provide the equipment but (obviously) you bring your own music. It needs to be in the format indicated in the contract. If the format isn’t indicated, ask. Make a master and a back up of your sets.

COSTUMES – whether it’s a one time or six month engagement the client will expect a multitude of professional quality costumes. The rule of thumb is a costume change for every set.

SHOW FREQUENCY – for short/long term contracts the industry standard is 2 days off a month. Be prepared to work two consecutive weeks before you get a break! Also, indicate in your contract that you get 24 hours of rest before show commencement upon arrival.

SHOW LENGTH – Totally dependent on what the client needs. You may be the headliner, the only act, one act in a line up… The client may need twenty minutes a night from you or an hour +.

VARIETY – The client is going to expect more than one 'mood'. Arrange your show program so that it maximizes the variety of music and expression you are capable of. Also consider your audience, location and context. In *most* situations you are there to entertain. Performing some ten minute long, slow tempo, angst laden artistic vision will go over like a sack of bricks. It’s a nightclub, a gala, etc. so keep the 'tempo' up and varied. Slower tempo songs can and should pepper the program but be in the minority. In addition, a program with many 3 minute ish songs is preferable to those with fewer but longer songs.

A few tid bits in summary:

Before you can pass go you have to clear passport control/customs. An airline attendant can give you the form while you are on the last flight to your destination. Fill it out then, it will save you time and hassle.

You may want to change some pocket money at the airport for tipping bell boys etc.

Someone will arrive at the airport to escort you to the client. This can be the agent or agent’s lackey or another representative of the client. Typically this meet and greet will go down before anything else. So freshen up. If you prefer to travel in sweat pants and your favorite t shirt from 8th grade, pack some fashionable attire in your carry on that you can change into on the plane.

Before your first show you will rehearse and the client will be present. No client concerned with their reputation will allow a show to go on before they have seen it in person. And besides you will need a tech rehearsal. Don’t waste time noodling around when you get to your lodgings. Unpack what you are going to need for rehearsal, assemble props if needed, get your music out… This can take a lot more time when you are rumy and jet lagged and time is a factor.

Alcohol before rehearsal and performance is usually frowned upon if not specifically prohibited in your contract. If you are a glass of wine to calm the nerves type do so with discretion.

And lastly, if anything is hinky, the stage is littered, the green room is dirty, the food is sub par SPEAK UP. This is the time, right from the get go, to have a face down. This doesn’t mean behave like an arrogant Prima Dona and leave everyone around you with bloody stumps. But let nothing slide. You are not there to be best friends with anyone. You are there to provide a service and the client, the agent, must facilitate conditions that enable you to do so.

Good luck and Godspeed in all your dance adventures, I hope they are plentiful, safe and successful!

So far we've covered the players, some of the risks now we are getting down to what every first timer wants to know. This Q and A does not cover every point that should be covered in your contract. However it does list the basics, so without further ado…

Salome has been dancing since she was a child. At 21 her career transitioned abroad. With representation by "Rising Stars", "Classic Models", and "Showhouse" (among others) she has worked exclusively overseas in a near successive string of short and long term contracts. Learn more about Salome and oriental dance at www.orientaldancer.net.

There are many different costumes to be made when searching instructions for making belly dancing costumes and it is imperative to know which genre of belly dancing you require instructions for making belly dancing costumes. With that said, if you know what kind you are needing then you’re all set to go out and make yourself a fantastic belly dancing costume.

Beginners Instructions for Making Belly Dancing Costumes

As was mentioned about regarding knowing what genre of belly dancing you are interested in, it is highly important however beginners instructions for making belly dancing costumes does not apply for modernization of historical dances such as a Renaissance style dance. The beginner’s instructions for making belly dancing costumes are only for the basic costume such as the blouse, pantaloons and the belly dancing belt to accompany those. The costume can have folklore sort of look and accessorize the costume with jewelry or the infamous coin belt.

Let’s start with the blouse instructions for making belly dancing costumes, as it is sensible to start from the top and work down in this instance. A blouse should be selected that is short and exposes the middle but not so short that when you raise your arms your breasts will be exposed so make sure that you can lift both arms before committing to any specific blouse. The next step in the blouse instructions for making belly dancing costumes is to sew a liner that is the same color as your shirt so that it can absorb any perspiration from ruining the blouse. Now your blouse is pretty much ready aside from adding any sequins or accessorizing it to your liking.

Next it’s on to the belt instructions for making belly dancing costumes because no costume can be complete for belly dancing without the belly dancing belt. It is placed around the hips, obviously and should be approximately four inches wide and nine inches long and should according to instructions for making belly dancing costumes, have some fringes at the bottom hanging down. These are important for tying metal coins in order to add that pizzazz and sparkle when belly dancing.

The pantaloon instructions for making belly dancing costumes is less intense because it is just a pantaloon style pants that should bulge out slightly and make a form. The top of the pants should be situated below the belly button and just above your hip line. These are just basically baggy pants tied up and tucked in securely at the bottom to provide this illusion. Now you’re ready to get belly dancing and impress your friends!

Article Source: http://EzineArticles.com/?expert=Asli_Adivar
http://EzineArticles.com/?Instructions-for-Making-Belly-Dancing-Costumes&id=467215

Article Source: http://www.bellydancearticles.com

In Arabic, the folk dance that mothered Oriental dance came to be identified as Raks Baladi. Raks meaning dance and Baladi roughly meaning of the country. A distinction between native and foreign dance became necessary after European occupation. Before this it was simply referred to as Raks (derived from the word rejoice).

For centuries, Raks Baladi was enjoyed at festive occasions and in the home by men, women and children. In gender separate parties/living quarter's people would dance for each other for fun in their party or regular clothes. Raks Baladi continued in this vein until the influx of European tourists in the 1800's. The Europeans created a demand for public performance and this sparked a segue into performance art.

Raks Baladi (in its various forms) is indigenous to North Africa, the Middle East, and as far east as Iran. However, the public performance aspect was predominately influenced by Egypt. Some general factors why:

In the 1920’s Turkey was experiencing a cultural revolution and transition in government that all but eliminated their participation in native arts. Until the 1960’s Lebanon’s industry flourished. But unfortunately Lebanon was swept into civil war and their attention turned to survival. Other North African and Middle Eastern countries never developed the dance as a performing art.

In the transition from social dance to staged performance Raks Baladi emerged in an altered state becoming what we identify as Raks Sharki (Oriental dance). This metamorphosis most notable occurred in the 1930's at the Casino Opera in Cairo, Egypt.

A singer, dancer, actress named Badia Masnby, of Lebanese heritage, opened a nightclub called Casino Opera. It was fashioned after European cabarets and host to Middle Eastern and European entertainments.

Raks Baladi was typically done stationary and used in small spaces, the nature of movement earthy with a predominant focus on the hips. Badia personally trained her dancers but also brought in western choreographers. The dance adapted to utilize stage space and the movements were refined using not only hip but arm and chest movements as well.

Costuming also underwent a major change at this time. Up to that point dancers wore a long dress or skirt/shirt/vest with a scarf accentuating the hips. Influenced by Hollywood movies and European cabarets the beaded two piece sequin costume made its first appearance.

Egypt had a booming entertainment industry with Egyptian film dominating cinema in the Arab world. Many of the films made were musicals featuring dance artists. Raks Sharki was catapulted to a level previously impossible and stars created that remain legendary today.

Outside of the film industry and clubs, Raks Sharki was an integral part of the culture and any festive celebration. But after the revolution of 1952, by order of Dr. Rageb, Raks Sharki was banned on religious grounds and dancers in Cairo exiled.

Under pressure from the people (and desire for tourist dollars) it was allowed to resume in 1954 but under certain restrictions. The torso had to be covered, floorwork was prohibited and no "quivering" a particular style of hip shimmy.

Through the 70's and 80's Egypt saw a wave of American and European women clamoring to learn Egyptian Raks Sharki first hand. Lessons and video were consumed en mass. The Egyptian Raks Sharki scene was reportedly at its peak, with superstar dance productions in the swankest clubs of Cairo with 40 piece orchestras.

Egypt enjoyed alpha status until the 1990's. Over the decade public performance notably petered out. Identifiable reasons include: a decline in wealthy tourists from the Persian Gulf; the younger generation turning to other forms of entertainment; and religious extremists threatening violence to any event where women perform Raks Sharki in front of men.

Currently, due to the economic, political, and religious climate the Egyptian Raks Sharki scene is sparse in contrast to yesteryears. Aside from the decline of nightclub performances, I have heard tell of its occasional exclusion from wedding parties for fear violent retaliation. A law passed in 2003 prohibiting foreign dancers from being granted work permits, causing a deeper decline in public performance. Though the ban was reversed after approximately a year.

Oriental dance is flourishing elsewhere however; Lebanon and Turkey are most notable for their burgeoning dance scenes. Outside of the Middle East, in the U.S. and Europe, a wealth of performance can be found in grand auditoriums to small town cafes.

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Salome has been dancing since she was a child. At 21 her career transitioned abroad. With representation by "Rising Stars", "Classic Models", and "Showhouse" (among others) she has worked exclusively overseas in a near successive string of short and long term contracts. Learn more about Salome and oriental dance at www.orientaldancer.net.

No one country has authority to claim ownership as the originators of Oriental dance. It is indigenous to many countries. Some countries maintain a higher profile because of opportunity for performance within those countries and related media. That being said, what is an authentic presentation of a folk dance?

Simplistically – one performs a dance that is specific to a particular ethnic group, in a particular country and specific region. One uses the exact type of music that group uses; the exact type of dress down to the pattern of embroidery. One emulates not only the movements but in the style those movements are made. One presents the mood, expression, and the spirit, in which the dance is done as closely as possible to the original group.

Speaking strictly on Oriental dance - we should consider that when we emulate performance art from a particular country we are emulating style. What is style? Style is trend. Trend can be formed to suit a political climate or by popular figures according to personal taste, experimentation, expression, and the like.

In time trends can become standard practice. Consider – commonly in Egyptian Raqs Sharqi a dancer will enter with a veil held behind her body. The veil is held high, used as a back drop and discarded early in the routine. Samia Gamal, an Oriental dance star, started that trend. She studied from Ivanova, a famous Russian ballet dancer and Ivanova instructed her to use a piece of fabric in this fashion as a way of improving her arm carriage. Other's picked up that practice and it caught on.

In the same breath, emulation should be executed with care. Because a dancer in Egypt wears a spandex dress that barely covers her ass or does something very experimental doesn't mean one should follow suit in the quest to be authentic. In the words of Morocco "I'm in Egypt, or they're real Egyptians, therefore what I'm seeing is real, right? Wrong!" You have to know what you are looking at to make a distinction between creative license and standard practice.

The subject of purity is even further blurred by the strong Russian influence on Oriental dance in the Middle East. Russian ballet instructors were imported to Egypt and the National Folklore Troupe of Egypt, as well as the most gifted Egyptians were sent to study in Russia. According to Morocco "choreography of even the folklore was supervised and influenced by Soviet pseudo - "Ethnic" styling and all the young dancers were trained by Soviet dance teachers."

I bring up these points to illustrate that the very nature of performance art is exploration. That has certainly been true of Oriental dance in the Middle East. Bearing that in mind, can one represent a dance as authentic when it has, is and will be altered? You bet. Cairo trends can be observed and presented as Egyptian Oriental dance. With research and study any number of Middle Eastern folk dances can be presented "authentically".

If you have researched a dance style or folk dance - present it as factual. It can be a source of education and information for the dance community and your audience. If you do interpretive dance then call it so. There is no shame in great theater.

Salome has been dancing since she was a child. At 21 her career transitioned abroad. With representation by "Rising Stars", "Classic Models", and "Showhouse" (among others) she has worked exclusively overseas in a near successive string of short and long term contracts. Learn more about Salome and oriental dance at www.orientaldancer.net.

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When someone makes a statement that falls into the above category, counter myth with fact, explain that: Traditionally in Muslim society men and women live in separate quarters of the house. The section where the women and children live is referred to as the harem. We, in the West, often have an image of a harem being young, semi nude concubines, fanning themselves while lolling on pillows waiting to 'please' the master of the house. This concept was surely formed by fantasy paintings and written works from the Orientalist period and perpetuated in contemporary media. However our fantasy and the reality couldn't be farther apart.

As stated earlier, a harem is the women and children's quarters of a domicile. The word itself means forbidden. That is because males, who are not immediate relatives, are not allowed to enter the harem. It is forbidden. In Muslim society, women are shielded from unknown men and this is one way that is carried out.

While some Muslim women work outside of the home or attend school, many women occupy the role of home maker. As home maker, women cook, clean, care for their children and may also visit with girlfriends and female relatives. This is one context where dance may play a part in a woman's life.

For women whose movement is traditionally very structured, going to the cinema, joining a health club or any activity outside of the home where a male relative is not chaperoning is generally unfeasible. But woman can and do socialize with each other in their homes. And dance is a diversion that can be enjoyed by and for each other in the harem.

Outside of the home dance was and is commonplace during festive occasions. In gender segregated celebrations, dance was done by both sexes spontaneously and was not seen as performance but as a social/celebratory activity. For centuries the dance has also been used in these gender separate/social contexts.

Today celebrations may or may not be gender separate. Often a band and a professional dancer are hired for festivities. After the professional dancer has retired the musicians continue to play and this is the time for party goers to dance. If it is a mixed gender crowd some women may be reluctant to hit the dance floor. But either way the spirit of the dance is one of celebration, socializing and informal entertainment.

Salome has been dancing since she was a child. At 21 her career transitioned abroad. With representation by "Rising Stars", "Classic Models", and "Showhouse" (among others) she has worked exclusively overseas in a near successive string of short and long term contracts. Learn more about Salome and oriental dance at www.orientaldancer.net.

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Belly dancing is practised and enjoyed by people around the world, but few realise that the name they lovingly know it by was really just an accident.

Rightfully, Belly Dance should be known as Oriental Dance or Raks Sharqi, "Dance of the East", a collection of similar dance styles that originated in the Near East, Middle East and/or Far East. There are actually more names that could be used depending on the individual styles such as "Baladi" meaning "dance from the country" or the Turkish and Greek name "Oryantal Dansi" meaning "Dance Oriental".

So, where did the name "Belly Dance" come from?

This genre of dance was not properly introduced to the Western World until the 18th century and even then was rarely seen until the late 19th and early 20th centuries. In 1893, Oriental Dancers performed at the World Exposition in Chicago and caused quite a stir due to cultural attitudes of the time. This was further exacerbated by burlesque performers, who took aspects of the dance and created their own titillating routines that bore no real resemblance to the traditional dances of the East but convinced Westerners that it was a sexual and immoral dance.

In a French review, a similar style of dance was labeled "Danse Du Ventre" or "Dance of the Stomach" which is believed to have quickly developed into the name Belly Dance. Even today that name causes dismay among lovers of Oriental Dance who see it as tainting the origins of the ancient art form.

Belly Dance is not even a good description. Belly Dancing does require movement of the abdominal muscles but is a dance of the whole body, incorporating upper and lower body muscle isolations, graceful arm movements, hip rolls and pelvic tilts.

However unsuitable the name might be, Belly Dance is known and recognised the world over. Instructors may prefer to label their classes "Oriental Dance" or "Raks Sharqi" but the recognition that the name Belly Dance brings will continue to ensure its use, at least in the West, for many years to come.

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Issy Hart writes about the art of Belly Dancing, including Belly Dancing Costumes and Belly Dancing Music