Since its introduction to the U.S. and Europe at the turn of the 20th century, belly dance has become a global phenomenon that has gained a large following of practitioners internationally, as well as pervasive media exposure. With the spread of this dance form, different countries and regions have developed their own styles based on their unique histories of belly dance. In the U.S., its uses have ranged from exercise to erotic performance to a platform for explicitly and implicitly addressing women’s issues and sexuality. American and European dancers frequently view Egypt as a central “hot spot” and ancient birthplace of belly dance. Consequently, the popularity of belly dance has created a thriving Egyptian tourist industry. Despite constant travel and keen interest in this region, there remains confusion among many U.S. practitioners about current roles of belly dance in Egyptian culture. These practitioners often naively assume that American and Egyptian belly dance have similar historical significance and political roles. For example, many U.S. feminists emphasize heightened sexuality as a means of female empowerment. In my research, I analyze interviews of individuals who have experienced belly dance in both the U.S. and Egypt in order to identify points of difference in attitudes towards belly dance in these two cultures. I also examine historical changes in class, women’s social roles, attitudes towards Europe, and the rise and overlapping of the Egyptian Nationalist and Feminist movements to look at how these factors influence the ways belly dance is used socially and politically in Egypt. I will show that recognizing the impact of these historical factors is essential for American belly dance practitioners who wish to engage with Egyptian communities and instructors who teach this dance form and its history in the U.S.

For many cultures dance provides a basic framework for life. For many minority communities, it is an integral part of how we learn to speak, remember our history, and develop bonds within our community. Surprisingly, this aspect of dance is rarely represented in University dance curricula. As with many disciplines in higher education, the hierarchical structures of power are also represented through University dance programs where the majority of classes offered are in the white idioms of ballet or modern, leaving many minority students feeling disenfranchised. While many minority students will assimilate, there are many others who exclude themselves from dance programs and are never able to reach their potential as dancers. Within the last thirty years, several scholars have published literature about the need to diversify dance programs caused by the belief that colleges and universities need to start adapting their coursework to reflect the interests of all students on campus. My research focuses on how dance forms that are considered “ethnic” dances are negotiated in a westernized instructional setting, focusing on Salsa as a case study, and how minority students negotiate their culture with their instructors. I will examine instances in which salsa has been incorporated into a university dance curriculum and compare it with how salsa is learned outside university settings. The comparison will enable me to explore the benefits and difficulties of integrating culturally embedded dance forms into university dance curricula. This research could not only be a model for dance programs to develop an enriched dance curriculum, but for other University programs to take initiative to diversify and draw in students who will promote a stronger curriculum.