It’s a bit tricky trying to explain ‘Belly Dancing’ without resorting to debunking popular myths and fantasy about the ancient dance form. But watching Anzè Shaw put her class through its paces it’s obvious there is something emanating from a source deeply different than any ‘hootchy kootchy’, modern-day perception.
Anzè, from the island of Miyako-jima, was living in Los Angeles some years ago with her American husband when she decided to take dancing lessons. Poring through the yellow pages of the phone book she came across someone offering Oriental Dancing. She had no idea what that meant and went to see what it was all about. She very quickly became a fervent devotee of the dance with its exotic, Middle Eastern roots.
Although the true genesis of the form are murky, some sources assert that what is today commonly referred to as ‘belly dancing’ had its beginnings in Babylon of old, now southern Iraq. It was eventually taken by Arab tribes into Egypt, and performed usually by peasants or slaves, where it evolved to its present forms.
In some cultures men and women alike perform local versions as social dances. These are part of a tradition known as ‘raqs baladi’, or ‘folk dancing’.
The other form, ‘raqs sharqi’ or ‘dance of the east’, with many variations, is the more well known in the western world.
Anzè Shaw, along with some famous practitioners, holds that it began as a natural movement common to women, who must cope with the practicalities of birthing and child rearing.
“Long ago,” Anzè says, “women used different parts of their bodies when working. Work was different, more physical.”
She notes that the exercises involved in her classes isolate specific areas, such as the hips, stomach, and shoulders where strength and flexibility are required.
As an example, she demonstrates a placement of legs and hips that is used when holding a child to the side. Another move utilizes muscles used in birthing or in lifting an older child. Put together, stylized, and set to the rhythm of music the movements become a graceful, definitely feminine dance.
Shaw was living on Miyako-jima when a young woman from Okinawa asked her to bring lessons to Okinawa. Her interest had by then taken her to Egypt for further study with masters of the form where she had to learn enough Arabic to understand explanations of the movements. The year was 2003 and President Hosni Mubarak under pressure from native Egyptian dancers banned foreigners from being ‘star’ performers, relegating them to the background. Knowing she had little future as an outsider she returned to Japan.
Taking up the invitation to check out Okinawa, Shaw has settled in and now offers classes at three venues here, including one at Urasoe, near Kinser, another at the Haebaru community center and the newest in Chatan.
Faith Chavez, who dances under the name of Wafiyyah, says that the dancing centers her, and relieves stress. The other ladies of the class agree.
The dance form encourages self-expression, and individual creativity, lending itself to improvisation.
"While the dance can be seen as performance, enjoyable to watch," Shaw says, "it's really for yourself. A way to get in touch with your own spirituality, your own sense of being a woman."
Getting in shape and learning the movements means a real workout, as can be seen by the perspiration and concentration on the women’s faces. But there is an easy camaraderie and fun as well, giggling at slip-ups or missteps. Anzè is a patient teacher and her passion is contagious.
The group is available for performances. To schedule a performance or to take a class contact Anzè Shaw at (098)875-7474 or 090-6896-7754. The class fee is ¥7,000 per month and includes a weekly one-hour session.
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