PHOTO CREDIT: Above photo by John Rickman Photography, San Jose, California.

• Introduction
• Types of Music to Watch For
  • Religious Music
  • Political Songs
  • Situation-Specific

• Specific Song Titles
  • Sung in Arabic
  • Sung in Turkish
  • Sung in Other Languages

There is a huge body of Middle Eastern music that is perfect for belly dance. Middle Eastern music covers a wide range of musical styles and emotional content.

However, not all music is suitable for "typical" belly dancing. Some music should never be danced to at all, while other is fine for some performances, but not others. Before using a song, it's wise to learn about both the lyrics and the context the Middle Eastern audiences associate with that song.

This article offers some points to consider when picking out music for classroom use, troupe choreographies, restaurant performances, and other Oriental dance situations.

PHOTO CREDIT: Photo by Lina Jang, New York City, New York.

Definitions

These definitions clarify the intended meaning of these words as used in this article.

• Oriental Dance. Another name for belly dance.
• Typical Belly Dance.
  • Performed for restaurants, birthday parties, weddings, belly dance gatherings, haflas, city festivals, etc.
  • The primary purpose of such a performance is to entertain or celebrate.
  • Uses a typical belly dance costume.
• Interpretive Theater Dance.
  • Performed in an "arts" environment such as a formal theater, museum, or gallery opening.
  • The dance's purpose might be to narrate a story, communicate a socially relevant message such as a protest, express angst, depict a particular type of character, or try to make people think about an important issue.
  • The costume would match the artistic message, and would almost certainly not resemble a typical belly dance costume.

Many recordings of Sufi music consist of instrumental taqsim (improvised solo). It can be very tempting to use these for dance, because the music is so beautiful, but it's best to find something secular to use instead. Sometimes instrumental pieces are recordings of famous songs which people from the culture would recognize even in their instrumental form. Other times the pieces may have no lyrics, but would be very familiar to people from the culture as instrumental classics.

It may be acceptable to do a Dervish-style whirling exhibition to Sufi music, with appropriate clothing and reverential attitude. It is best to avoid doing this, however, unless the performer is extremely knowledgeable about Sufism and understands it well enough to present the whirling in a way that real Sufis would consider to be culturally sensitive and respectful.

Christian Music

Some Christian communities accept the idea of dancers performing to Christian hymns, perhaps as part of a special holiday pageant. Some churches even feature liturgical dance as part of a regular Sunday morning worship service.

Once a performance moves into using Christian music, it ceases to be true belly dance. The energy is different, the audience relationship is different, and the motive is different. Instead of a typical Oriental dance message of, "Let me entertain you," or "I'll use my body to make the musical phrases and instruments visible," the message is more likely one of Christian worship. For this reason, instead of wearing a typical belly dance costume, it's typically better to wear something more concealing. This might consist of the type of clothing sold for the specific purpose of liturgical dance, or it might consist of a design based on a folkloric garment such as the Palestinian thobe shown in the photo to the right.

PHOTO CREDIT: Photo by Michael Baxter, Santa Clara, California.

Some Arab artists have recorded Christmas hymns in Arabic. The most prominent of these is the legendary Lebanese singer Feirouz, but others have also done so.

The song's lyrics talk about a series of crimes in which women used knives to murder their husbands. It would be a very poor choice for a performance at a wedding, engagement party, or anniversary party.

For other performances, it probably wouldn't offend anybody, but people would think it an extremely odd choice of music and be puzzled by a dancer's decision to use it.

On the surface, this is a love song. It has been used by many Oriental dance artists, including Egyptians such as Fifi Abdo, for normal Oriental dance performances. However, some of the lyrics have been perceived as having political overtones. For example, consider this segment: "Give me my freedom! Set free my hands! I have given freely, I have held back nothing. Ah, how your chains have made my wrist bleed!" Some people interpreted these lyrics to be a reference to Nasser and his heavy-handed rule over Egypt. Others felt it represented the Arab world's feelings toward Israel.

It should be acceptable to perform an Oriental style dance to this song, embracing the romantic interpretation of the lyrics, but the song may have another level of meaning for some audience members. It's useful to be aware of this other meaning to better understand possible behaviors or comments by some audience members.

This anti-war song was written as a protest to the Algerian civil war, which is estimated to have killed 150,000 - 200,000 people. Massacres of civilians often targeted entire neighborhoods or villages, and were shockingly brutal. As of the song's 2001 release, the war had been going for 10 years. The war finally ended for the most part with the 2002 surrender of rebel factions, but some fighting has continued in some areas.

The song's bleak lyrics say, "There is no honor left, Ruin and war, and blood is flowing, There are only walls left, walls standing up, Fear and people remain silent."

Some dancers have been known to use this song for typical belly dance performances with a sword as a prop; however, it's best to think very carefully before doing this. Audience members who suffered under the civil war, or know people who did, might not respond favorably to seeing a dancer with a sexy bare belly waving a weapon around to this anti-war song.

This 2014 song is asking Egyptians to go out and vote, and is a reference to political events in Egypt at the time. The word "sout", which appears in the song, can mean either "voice" or "vote". In this song, it refers to "vote". As a result of the 2011 revolution, Egyptians have finally been able to vote in a "real" election. The 2014 election represented a major step forward in post-revolution Egypt.

There's no harm in dancing to this song, and so long as the song remains popular Egyptians might like hearing a dancer use it, but non-Egyptians might think it an odd choice and not relate to it.

In the lyrics of this song, the narrator tells her man that she no longer loves him.

For that reason, it would be a poor choice for a wedding, engagement, or anniversary party. However, it could be fun to use it in restaurants, haflas, and other situations.

This song is widely acknowledged as the anthem of the 2011 Egyptian revolution. For that reason, it probably isn't suitable for a typical Oriental dance performance.

The song might, however, be acceptable for an interpretive theater piece provided the choreographer has a deep understanding of the cultural nuances of the revolution.

The lyrics of this song consist of a woman telling the man in her life that she has quit loving him.

For that reason, it would be a poor choice for a wedding, engagement, or anniversary party. However, it's a popular song for dancers performing in restaurants, haflas, and other situations.

The original song "Leilet Hob", has long been a favorite choice for raqs sharqi performances, and many beautiful arrangements of it appear on music collections intended for the dance.

However, in 2013, a new song titled "Wahsahni Baladi" was released that uses the exact melody line of "Leilet Hob". (See below for details of why "Wahshani Baladi" could be a tricky choice for a dance performance.) Now, when Arabs hear the song, it may evoke both responsees - both the original "Night of Love" meaning of "Leilet Hob" and also the sadness of "Wahshani Baladi".

It's still fine to use "Leilet Hob" for a raqs sharqi performance. However, a dancer may find it helpful to be aware of "Wahshani Baladi" in case an audience member mentions something about it or in case the dancer wants to acknowledge the newer lyrics in a section of her performance.

The lyrics represent a protest against the racism that dark-skinned people experience in France. It would probably be fine for a dark-skinned dancer to use it for interpretive theatrical dance, but it would be a questionable choice for a white dancer.

The lyrics of this song consist of a woman telling a man that she has run out of patience and no longer wants him in her life.

For that reason, it would be a poor choice for a wedding, engagement, or anniversary party. However, it could be fun for dancers performing in restaurants, haflas, and other situations.

Adaweyya (the singer) has said in interviews that this song represents the Egyptian soldier following the defeat of Egypt by Israel in 1967.

Despite this political association, it's fine to use this song for Oriental dance and it appears on many music compilations intended for dance. It appears on this list to reassure dancers that despite the political interpretation of the lyrics, it's perfectly acceptable to use this song in a dance performance.

It's useful for a dancer to understand the political interpretation of the lyrics in case someone makes a comment about it, so she can respond knowledgeably. Arabs from countries other than Egypt are less likely to think about any political meaning for it.

This song would probably be a risky choice for a light-skinned dancer. The lyrics are innocuous enough, but the song's title, "Samara", is a woman's name that means "dark skinned" or "tanned".

There are ways a light-skinned dancer could make this song work, but it's a good idea to give careful thought to how to do that.

This song would probably be a risky choice for a light-skinned dancer. The lyrics are innocuous enough, but the song's title, "Samara", is a woman's name that means "dark skinned" or "tanned".

There are ways a light-skinned dancer could make this song work, but it's a good idea to give careful thought to how to do that.

The lyrics say, "The evening covers the country with grief. And hopelessness among us and the sword of fear is drawn on us, drawn on us."

A male dancer may want to think carefully before using this song.

"Set el hosen" is an expression in Arabic used to praise a woman's beauty. It means "prettiest of the pretty", or "prettier than all other women". Some people might think this an odd choice for a man.

The lyrics speak of homesickness, of missing one's country. It was released in 2013, and many people associate it with the Arab Spring. A music video version of this song powerfully references the Palestinian diaspora and is recommended viewing before doing a performance to this song. The melody line for this song consists of a segment from the classic Egyptian song "Leilet Hob" by Oum Kalthoum.

A happy, joyous dance or a sexy, seductive one would be out of place for this song. The associations with the Palestinian diaspora and Arab Spring refugees would make it tricky to use in a typical belly dance set.

However, it might be workable to construct a theatrical performance that evokes the longing and sadness of people who miss their homeland, their memories, and the people they cared about.

On April 4, 1953, the Turkish submarine Dumlupınar collided with a Swedish cargo ship and sank. Some of its occupants died in the crash, and some made it to safety; however, 22 were trapped on board. The rescue teams were able to establish phone contact with the submarine via a buoy connection, and instructed them to conserve oxygen by not smoking, singing, or even talking unnecessarily to each other. Several hours later, the rescue team concluded they would not be able to save the sailors. They gave them the news through the phone connection and gave them permission to talk to each other, sing, and even smoke. As all of Turkey listened, the sailors burst into song, singing "Ah Bir Ates Ver". The lyrics say, "Ah, give me a light, let me light my cigarette, may you sway and come, let me look at your beauty."

Turkish audience members might be quite dismayed by a performer who uses this song for typical Oriental dance, but an interpretive theatrical piece that honors the sailors might be successful.

The title of this song refers to "Tiny Little Lady" who walks with a mincing gait.

A large woman dancing to this might consider doing so with a strong dose of humor.

There is nothing Middle Eastern about this song even though it appears on an album titled Belly Dancing at the Cafe Feenjon. The lyrics are in Yiddish, which is a language that arose among the Jewish community in eastern Europe, and they tell of a robbery at the Rabbi's house.

It might be fine for a performance for a Jewish family, but would be a very odd choice if performing for a different type of audience.

Many people consider this to be the anthem of the Romany people. The lyrics were written in 1949, set to a traditional melody, as a response to the suffering the Romany people endured under the Holocaust.

The lyrics say, "I once had a great family. The Black Legions murdered them. Come with me Roma from all the world, For the Roma roads have opened. Now is the time, rise up Roma now. We will rise high if we act."

This song would be a peculiar choice for a typical sexy/happy belly dance performance, but might be acceptable for an interpretive theatrical dance by someone with a very deep knowledge of the history and culture of the Romany people.

This old song was originally sung in Yiddish, which is a language that arose among the Jewish community in eastern Europe. Many belly dancers think it is appropriate for dance performances because it has been recorded by two bands that have also recorded belly dance music. Versions with English lyrics appear on the album Belly Dancing at the Cafe Feenjon by Feenjon Group, and also on Return to the Goddess in Chants and Song by Desert Wind.

The lyrics speak of a calf being taken to market to be slaughtered who needs to learn to accept his sorry lot in life. It probably wouldn't offend anybody to see an Oriental dance performance to this song, but they'd probably think it a very odd choice.

The lyrics refer to the fall and burning of Smyrna (known today as Izmir, Turkey) in September 1922. The death toll is estimated at being somewhere between 10,000 and 100,000.

It could be appropriate for a sad, meditative veil piece, or a theatrical piece that references the tragedy. However, this song would be a poor choice for a joyous occasion.

Israelis generally consider this song to be an unofficial second national anthem for the country of Israel. The gorgeous melody seems perfect for veil work, but using it for typical Oriental dance would probably raise eyebrows among any audience members, whether Israeli or Arab, who are familiar with it.

It might be possible to do a convincing interpretive theater piece to this song for a Jewish audience, but this should be undertaken only by someone who has a very strong grasp of the song's history and emotional associations.