A frequent inquiry within the belly dance community and beyond is: “How does male belly dance differ from female belly dance?” As many seasoned Male Belly Dancers would attest, the answers are as varied as the individuals themselves. Searching online often yields a generic response, commonly found across various belly dance websites:
Can men Belly Dance?
Yes. While belly dance is often perceived as a feminine art form, owing to its fluid, circular movements and associations with fertility, masculine expressions of the dance exist, complete with distinct costuming. Numerous accomplished male belly dancers teach and perform these styles globally.
This explanation, while accurate in its brevity, merely scratches the surface. It might inadvertently suggest an equal prevalence of male and female belly dancers. Although male participation is growing, it’s unlikely to reach parity with female dancers anytime soon, perhaps due to societal insecurities surrounding men in dance.
Furthermore, it hints at a completely separate dance form for men, distinct from women’s belly dance. This notion warrants closer examination. Conversely, some argue that belly dance is inherently “feminine,” requiring male dancers to emulate femininity to perform authentically. Anecdotes even circulate of Egyptian perspectives equating male belly dancers with women during their performance – a notion amusingly suggesting a temporary gender transformation on stage!
Others maintain that stylistic differences are nonexistent: “A ribcage circle is a ribcage circle!” Yet, the nuances are more complex. Are male belly dancers simply attempting to be “feminine”? This debate fundamentally probes the very essence of gender differences. Let’s delve into these multifaceted issues.
It’s crucial to preface this discussion with a personal perspective: the following reflects individual opinions and experiences. Disagreement is welcome, as diverse viewpoints enrich the conversation. For male dancers whose choices differ, this is merely a divergence in approach, respecting the validity of varied paths within the dance form.
The central argument here is that most distinctions between “masculine” and “feminine” styles are culturally constructed, not inherently biological. While biological differences exist, and men and women may be “wired” differently on average, these are often overshadowed by cultural conditioning.
How does this relate to “masculine” versus “feminine” belly dance styles? One prevalent stereotype is that women are naturally graceful, while men are inherently clumsy. Experience in teaching dance (Greek dance in this case) and navigating the learning curve of belly dance lends some credence to this generalization. However, the question arises: is this due to fundamental physical differences, inherent “wiring,” or simply societal encouragement of gracefulness in girls and its discouragement, or even opposition, in boys?
The answer is likely a combination of factors. Men generally possess greater physical strength and size than women. This strength, paradoxically, can require more control to achieve grace – a control that cultural norms may not encourage. The “wiring” theory also holds weight, as studies suggest innate preferences for “gendered” activities even in young, pre-conditioned children.
Therefore, male belly dancers navigate a confluence of factors: biological body differences, potential “wiring” predispositions, and, most significantly, cultural influences.
Body Differences
Physical differences between male and female bodies undeniably influence dance execution. Men’s greater strength may initially hinder the nuanced control required for graceful movements. Variations in hip structure also lead to visual differences in certain movements. For instance, Maias (downward vertical hip figure-8s) may appear subtly different on a male body. While the movement mechanics are identical, the narrower male hip structure can result in a less pronounced visual effect. Some male dancers, like the author, employ costuming elements like hip tassels or veil extensions to accentuate hip movements, mirroring techniques used by some female dancers.
Men also lack breasts, which, while visually significant, play a minimal role in the mechanics of belly dance itself. As a male dancer, this anatomical difference is largely inconsequential to the dance form’s execution.
“Wiring” Differences
If we accept the premise of inherent predispositions towards “boy things” and “girl things,” its relevance to belly dance remains open to interpretation. A determined male belly dancer can certainly excel. However, if biological “wiring” contributes to women’s perceived natural grace and men’s potential clumsiness, then overcoming this becomes a unique challenge for male dancers.
Personal experience underscores this point. The author’s ongoing struggle against personal clumsiness has been the most significant hurdle in striving for belly dance proficiency, jokingly termed “Male Moments.”
Cultural Differences
Cultural conditioning arguably represents the most substantial differentiator between men and women across various aspects of life, including dance. Culturally defined norms, though arbitrary and artificial, exert a powerful influence. Challenging these norms often falls to those who question societal expectations.
A female dance colleague once expressed admiration for the author’s belly dance pursuit but confessed confusion about “the role of a male belly dancer.” This highlights the pervasive influence of cultural conditioning. While individuals, including the author, navigate within culturally accepted norms regarding behavior, dress, and activities, some challenge norms that seem illogical, outdated, or inapplicable to individual expression.
Personal style choices, such as wearing skirts, long hair, and earrings, defy conventional masculine norms, yet are not a complete rejection of cultural values. Skirts are often chosen in “masculine” styles like kilts or Foustanellas, long hair is styled in a masculine manner, and earring choices are deliberate.
Interests also transcend typical gender lines. Engaging in conversations about technology and cars with men is as enjoyable as joining female friends to discuss fashion, belly dance, cooking, and even male-female relationships – offering fascinating perspectives. This enjoyment of traditionally “feminine” domains may be interpreted as expressing a “feminine side.” However, perhaps it simply reflects a more well-rounded individual, embracing a broader spectrum of human experience.
The Belly Dance Sub-Culture
Within the belly dance community, misconceptions from the broader public regarding belly dance as solely “sexy” or akin to “stripping” are frequently encountered. Unfortunately, such notions can even permeate the belly dance subculture itself. Being urged to “be sexy” before a performance, directed at a bride-to-be in the audience, highlights this internal pressure. The response, “I’ll try my best, I just do what I do – the interpretation is up to the audience,” underscores the subjective nature of performance and audience reception.
While the performance was deemed “sexy” by the colleague, personal perception differs. Belly dance’s allure lies in its grace, power, exoticism, spirituality, sensuality, and connection with music, not primarily in overt sexuality. Audience interpretations are varied and equally valid. The primary goal is to share the joy of dance.
Update: The “lady in question” indeed enjoyed the dance, even inspiring her husband to consider belly dance lessons, demonstrating the dance’s broad appeal.
Costuming
Rigid rules regarding costuming often emerge among male belly dancers, aiming to define “masculine” aesthetics and avoid “feminine” looks. However, these rules often stem from arbitrary cultural norms. Rejecting such limitations opens up greater creative freedom.
Some men avoid exposing their belly, deeming it “feminine.” While respecting individual choices, the author argues that exposed midriffs are integral to belly dance, aiding audience appreciation of the movements. Dancing in shirts obscures the torso work, hindering visual understanding of the dance. Therefore, exposed midriffs are favored.
Conversely, toplessness is generally avoided, even for male dancers, as it deviates from belly dance expectations and limits costuming possibilities. Tops frame the torso, highlighting the interplay between the torso and the garment during hip movements, enhancing visual interest. Thus, a top is deemed essential.
Cultural expectations can be strategically utilized. When questioned about wearing earrings, some male dancers are advised to stick to studs or small hoops, leaving dangles to women. However, long hair complements dangling earrings, a style embraced in daily life and deemed dance-enhancing. Arbitrary rules are challenged to expand creative expression.
Similarly, the notion that “fringe over bare skin is feminine” is dismissed as a culturally constructed limitation. If fringe enhances a costume, it should be incorporated, regardless of arbitrary gender associations.
Initially, skirts were avoided in performance, fearing audience discomfort with a male dancer in a skirt. However, participation in skirt-focused workshops and choreographies, like a Gypsy Skirt dance, led to a re-evaluation. Skirt work became enjoyable and visually engaging, and audience reception has been overwhelmingly positive.
The author argues that a full beard and mustache can effectively “de-feminize” almost any garment, even skirts, often considered the epitome of femininity. However, skirts are viewed as gender-neutral garments, unrelated to female anatomy, making them equally accessible to male dancers.
Ultimately, costume choices should prioritize dancer comfort and aesthetic appeal. If a costume looks good, feels good, and enhances the performance, it serves its purpose. Positive feedback from dance colleagues, audiences, and spouses validates personal costuming choices.
Presentation and Styling
The core of the discussion lies in defining stylistic differences between male and female belly dance presentation. Again, numerous rulebooks emerge:
“Some teachers allow slight angularity in male stance,” “Men should remain grounded, minimizing tiptoe movements,” “Men should project fierceness and war-like demeanor,” “Men should suppress vulnerability,” “Minimize wrist suppleness,” “Women dance diagonally, men squarely,” and countless other prescriptive pronouncements.
These rules are largely disregarded. If female dancers utilize graceful arm curves, so does the author. Tiptoe movements are embraced when appropriate. Fierceness and war-like aggression are deemed incompatible with the dance form’s essence. Vulnerability is essential for genuine emotional expression in dance. Wrist suppleness enhances arm work. Diagonal presentation often optimizes audience viewing angles.
HOWEVER –
While female belly dancers generally welcome male counterparts, a strong aversion exists towards male dancers perceived as “froopy” or excessively “feminine.” Despite disregarding many “masculine” rules, the author is often perceived as presenting a “masculine” style. One dancer expressed surprise at the “masculine” execution of veil work, considered inherently “feminine.” This reinforces the argument that perceived “feminine” and “masculine” differences are largely subjective and mentally constructed.
The key differentiator lies in attitude and self-perception. Men can embody grace and execute movements identically to female dancers while projecting masculinity through self-assuredness. As articulated in a previous “Gender Rant,” the goal is not to emulate womanhood but to express beauty in a “masculine” way – a personally defined masculinity, not one dictated by external norms.
Therefore, male dancers should NOT artificially “masculinize” the dance. Clenched fists, forced “manly” stances, or feigned fierceness are inauthentic and detract from the dance’s inherent grace and beauty. These are distractions, termed the “Trap of ‘Masculinity’,” leading some male dancers to prioritize stage antics over genuine dance expression.
Authenticity is paramount. Dancers must dance true to themselves. If grace and fluidity resonate, embrace them. Don’t compromise personal style due to preconceived notions of masculinity or femininity. Personal definition is crucial. If graceful veil work aligns with personal expression, embrace it, disregarding external limitations.
Conversely, if veil work or any element feels inauthentic or uncomfortable, avoid it. However, respect the self-determination of others to explore diverse expressions.
Just as height and body size variations exist among dancers without dictating distinct styles (“Skinny style” vs. “Large style”), gender differences should not necessitate rigid stylistic divisions. The emphasis on “Masculine style” versus “Feminine style” is largely unfounded.
As one male dancer aptly stated, “What’s ‘masculine’ about Belly Dance? Nothing, when a woman is doing it!” Conversely, “What’s ‘feminine’ about Belly Dance? Nothing, when a man is doing it!” Embrace freedom and disregard limiting “rules.”
Many limitations originate from within the male dancer community itself, but external pressures also exist. While most women in belly dance are highly accepting of male dancers, some attempt to impose stylistic constraints. A female teacher once advised against undulations, snake arms, and especially veil work for male dancers – pronouncements readily disregarded, as evidenced by routines incorporating kneeling undulations, snake arms, and extensive veil work, including Maias.
Societal biases often value “masculine” traits over “feminine” ones, contributing to perceived limitations on men exploring “feminine” domains, while women face fewer barriers crossing into “masculine” roles. Claiming “masculinist” principles, advocating for equal gender rights, mirrors true feminism. Therefore, if personal dance expression is perceived as “feminine” due to rejecting artificial masculinization, it is accepted without offense. Personal perception, however, remains grounded in human expression, transcending rigid gender labels.
Belly dance, at its core, is human dance, devoid of inherent gender constraints. A male dancer can perform delicate, graceful veil work with a soft chiffon veil and still project masculinity through self-assured presence. A female dancer performing the same routine embodies femininity through her own inherent gender expression.
Ultimately, any movement executed by a male dancer becomes a “masculine” movement by virtue of being performed by a man. Conversely, the same movement performed by a wife becomes inherently “feminine.” This perspective liberates dancers from fear of movement limitations.
Perhaps the most potent aspect of belly dance, and simultaneously its most intimidating, is its profound personal vulnerability. It demands soul-baring self-expression, leaving no room for hiding from the audience or oneself.
Conclusions
The perceived differences between male and female belly dance are primarily:
- Subtle visual variations in movement execution due to differing body structures.
- Attitude and self-perception as the most significant differentiator.
- The rest being largely cultural constructs, definitions, and personal comfort levels.
Therefore
Whether male belly dancers are perceived as “feminine” is ultimately a matter of individual interpretation, both for the audience and the dancers themselves. Discard rigid “rules,” embrace personal comfort, and follow individual artistic inclinations. Belly dance empowers and liberates women; men should expect no less. The primary obstacles are self-imposed limitations.
Update:
An article from the “Sisters of the Silver Branch” This Article offers an interesting validation of these perspectives.
