Though the Gypsies traveled on, many of their movements became part of the folkloric dances of the people of the Middle East. Isolated by the laws of Islam, tribal women had little influence from outside cultures. Their dances thrived unchanged for hundreds of years. Cultural norms of segregating women allowed them to dance freely and without the judgment, competition or watchful eyes of men. They shimmied, waved their hair, and shouted jubilantly.

In some cultures, belly dance movements were used as “training exercises” for child birth. From childhood, girls were taught to roll their abdomens, make their bodies ripple with soft undulations and gently move their hips in figures of eight strengthening their bodies for pregnancy. While in labor, women of the village danced and sang in celebration of the new life on its way. During the birthing process, young and old gathered around the laboring mother helping her through dance the baby into the world with sympathetic undulations.

In Morocco, belly dance was used for sexual education. Societal norms were such that all brides must be innocent virgins, so they needed to be instructed about their wedding night expectations. During the wedding festivities, a dancer would come, dressed in loose neck to floor length clothing, and dance and sing for the guests. Her movements had to be big and explicit to be seen underneath her huge garments. The suggestive dances and songs were all done in fun and in the presence of all the guests. Sex was seen as a natural part of married life, and it was all done very matter-of-factly.

In other cultures, belly dance was used as a release from every day life. The pressures of being cooped up within a house with other wives, without freedom to roam around, while having to endure hard manual labor required a party to break the monotone and strain. Drummers were hired for this special gathering to play for the women. It has been said that if they were not well paid, the drummers would not provide them with the “right” rhythms. The husbands knew how valuable a stress-free wife was so he made sure the musicians were taken care of. Sessions went on and on until the dancers all passed out from exhaustion. The catharsis allowed them to forget their troubles for a while.

In the Middle East today, belly dance still lives on in the folkloric dances of many people. Women dance together at all ages, from toddler to grandmother. The ease with which they co-exist, the obvious comfort within their own bodies, and the confidence in their sexuality contrasts sharply with western women’s suspicion for other women and self-conscious, stiff ways of moving. Women who remember their belly dancing roots show family bonds, bonds with other women, and bonds with the divine feminine that are remarkably close. I think it comes from the whole lifestyle that incorporates belly dancing.

Today this beautiful art form has been exported all over the world. Belly dance as pure folkloric dance, as Goddess dance, as a birth dance, as a Hollywoodized cabaret form, and as modern fusion can be found in Europe, Asia, North America, South America, Australia, and just about everywhere in the world. Women enthusiastically embrace this dance.

Since the beginning of time, belly dance has been sacred, and I believe that will always be the underlying attraction for all women. In belly dance we feel our most feminine. We allow ourselves to reveal and embrace our vulnerability, motherhood, creativity, sexuality, sensuality, strength, power, wisdom, and all things which identify us as women. Such a dance form speaks to the core of all women and attracts us like bugs to a light. In a time and culture where women are afraid to bring attention to their hips and ashamed to move in ways that might be considered alluring, it is about time we reawaken our ancient goddess within and allow her to celebrate her Self through us.