Musical Interpretation

Bellydancing is traditionally performed to Middle Eastern music and rhythms with a series of sensuous, supple and flowing moves, the dancer becomes the physical manifestation of the music. The dancer uses her body the way musicians use their instruments to express the emotive and rhythmic elements of the composition played. For example, a dancer may respond to fast, upbeat music with brisk, percussive movements, yet when the music becomes slow and sensual, her body then reflects the mood of the music with a slow, undulating and improvised dance called "taqsim". The melody creates the atmosphere, while the rhythm can govern the speed and momentum of the piece played.

Bellydance music is comprised of a variety of instrumental modes and compositions which prompts the dancer to respond accordingly, here are a few of the Middle Eastern musical modes the dancer should listen for.

Call-and-response - Where the dancer performs a "question and answer" series of movements, relating to a "conversation" between the instruments.

Repetitive rhythmic - Where the dancer repeats appropriate steps, hip movements or sequences of movements that weave/blend well together. This often follows the "rule of four". In Middle Eastern Music rhythms are played in four-four time, but there are plenty of variations. Usually, the dancer changes when the drummer does, after every set of four. This is commonly known as "the rule of four", and helps immensely when improvising/freestyling a dance or when choreographing a piece of music, such as a "drum solo".

Accents - These prompt short, sharp movements exactly on the beat. Accents are particularly important in the dumbek/darbuka/tabla solo sections.

Full orchestration - Where all the instruments come together to create a musical picture or story. The dancer often responds with larger "spatial" moves like turns, gliding steps or sweeping gestures and movements.