This most ancient Oriental dance developed through the influence of many different areas and
continues its long process of development today. Thus, the answer to "Where did belly dance
come from?" is not a simple one. There more than one style of Raks Sharki. In everyplace
where the dance is performed it takes on its own particular flavor. American belly dancers are
developing their own forms of the dance under names like American Tribal belly dance, and
various forms of "goddess" dance. The question of what is "traditional" or "authentic" becomes
a tricky one to answer. The truly amazing part is that despite the diverse cultural influences,
various dance stylings exist that are recognizably belly dance, by whatever name it's called.
Today some version of Raks Sharki is performed around the world in places where one might
least expect it - including Japan, Finland, Sweden, and Australia. However, the dancers from
Egypt still have a special place in the dance landscape. Many American dancers dream of
actually having the chance to come and dance in Egypt for Egyptians. In fact, the dancer that a
tourist sees in Cairo might very well be one of these American dancers fulfilling her dream.

Attitudes towards all forms of Raks Sharki have caused it to be disdained, scorned, and much
loved by many people in all of these places and times. It has traditional associations with both
religious and erotic elements, and this had on added to the ambiguity which people feel about it.
Raks Sharki has suffered from the cultural clash between East and West by being misunderstood
and often badly misinterpreted in the West. In the same way that Eastern religions like those of
India tended to emphasize the development of the inner self, Raks Sharki is as much an "inner
dance" as it is a performance on the outside. Middle Easterners understand this, and will greatly
praise a dancer who can express the emotional side of the dance.

The Middle Eastern dance aficionado is also more likely to appreciate subtlety in dance. This
dance is a kind of extended conversation in movement with its own language. Raks Sharki
which is performed in a traditionally intimate setting is a very different dance than the one
performed as a large stage extravaganza. Anyone who studies Raks Sharki for an extended
period of time will come to appreciate the pleasure of a dancer who has great subtlety in her
movements, who layers many small, delicate movements, and has a range of emotional
expression. All of the small delicate things are completely lost if the audience is viewing her
from a great distance, at the center of a huge stage. Instead of blatant sensuality, the Middle
Easterner is more likely to appreciate the coy glance, and perhaps even an elegant, fitted long
dress instead of a scanty costume.

It is not enough for the more educated Middle Eastern dance aficionado that a dancer is young
and pretty. In fact, some of them will tell you that a dancer can only be the best after she is thirty
or forty. This is because the true expression of the dance has as much to do with sharing love,
life experience, and an acceptance of one's own sexuality as it does physical beauty. This is also
true because unlike the attitudes cultivated in western advertising propaganda, it is more
acceptable in countries other than America for a woman to carry more weight on her body. This
is especially true in Egypt, where the truly great dancers such as Nadia Hamady and Negwa
Fouad are considered national treasures throughout their lifetimes.

The position of dancers in Egypt is different than in the United States and most other
countries. Famous Egyptian dancers like Lucy, who was recently interviewed for a National
Geographic special, are the celebrities of their culture They are one of the fortunate few who
achieve fame and wealth, similar to movie stars and rock stars in the United States. These
dancers receive large sums of money to perform, and are themselves heads of a business
enterprise. From their fees, they hire their own orchestra, choreograph their dances and must
have numerous expensive costumes in order to present an elaborate stage show.