The classic Turkish style dancer fits the classic American bellydancer stereotype very nicely. Fast hard shimmies, exciting spins, and floorwork still prevail, but fluffy skirts slit to there, body baring bra top, veilwork and finger cymbals are now optional and retro.

Turkish Oriental was the main ingredient in American bellydance in the 1960s through the 1980s, and in many cases the styles are difficult to differentiate. This is true of both the dancing and the costuming.

Here are some words and phrases that are often used to describe Turkish Oriental, comparative to other bellydance styles. Watch for these qualities in the video clips that follow:

• Energetic
• External projection of energy
• Lively
• Athletic
• Dramatic
• Sexy
• Powerful

Turkish dancers strive to blow their audiences away, whether it's through fast and furious spins and shimmies, sharp isolations, or dramatic slow evocative floorwork. This offers quite a stunning contrast to Egyptian style, which generally prizes a subtle and deep connection to the music over showmanship. Dancers who are accustomed to watching one style often find that the other looks 'wrong' to them.

Other notes about Turkish Oriental

Related folk dances
Turkish style dancers often study some of the following styles:

• Karsilama: A confusing term that denotes a social dance in Turkey but is used to describe a 9-beat rhythm in the U.S.
• Turkish Roman (Romani, Rroma): the dance style of the Turkish 'gypsies.'
• Spoons - a prop used as a rhythm instrument by Turkish folk dancers
• Turkish line dances: Similar to a sedate version of Debke, every village has its own variation. Sometimes incorporating spoons or done in two facing lines.

• Arms: Might be held at the hips, out to the sides, or overhead or can be creating dance all by themselves with flowing or sharp, highly stylized movements. Often playing finger cymbals.
• Pelvis/hips: Full range of hipwork. Shimmies, undulations, circles, lifts, drops, etc. Turkish dance uses more upward locks, both to the side and to the front, than Egyptian but can use downward locks as well.Single hip drops are often done while the dancer leans back.
• Footwork: Covers a large area. Hops and little kicks are common, as well as shimmying and undulating traveling steps. Dramatic spins, splits, and dramatic drops to the floor for floorwork are characteristic.
• Abdomen: Belly rolls, flutters, inward locks.
• Other: Head slides and head shimmies -- even a lip shimmy is reportedly popular. The head movements are reminiscent of Persian dancers. Floorwork, seated or fully reclining, can include all kinds of shimmies undulations and arm movements - and is often preceded by a dramatic and sudden drop to the floor. Finger cymbals and veil are very common props, especially in the older style from the mid-20th century.

Costuming

Turkish style costuming from the 1960s to 1980s definied 'bellydance' in the US in that era. Bra and belt sets, often a V-shaped belt, with long fringe and a full skirt slit high over both thighs is the classic Turkish look. Veils were often wrapped over the costume in some way for entrances, perhaps over the shoulder like a toga. Big fluffy hair, lots of bracelets or armbands stacked up the arm, and high heels completed the Turkish Oriental look.

The silhouette of today's Turkish costuming is often simpler. Skirts may be a sleek velvet or lycra instead of fluffy chiffon, and the top of the skirt may be decorated instead of wearing a separate belt. Dresses and one-piece costumes are also popular. But still the costumes are ornate, heavy with crystals, rhinestones, sequins and beads, and more likely to be fringed than modern costumes from Egypt.

Each related folkloric style has its own associated costume. The typical costume for Turkish Roman (gypsy) dancing is completely different from Oriental and involves many layers of fabric, a covered midsection, and not much sparkle or fringe.

Classic Turkish Oriental: The quintessential 'bellydancer'

The classic Turkish performance would include a strappy costume bra and slit skirt with fringed belt, entrance wrapped in a veil that matches the skirt, and continuous zilling. Turns, hops and level changes, lots of shimmies and locks. Here's Tulay Karaka to demonstrate, in a 1979 performance..

Here's another example of classic Turkish style, with a dramatic entrance, from Prenses Banu (Princess Banu).

If you're an American of a certain age, you may be thinking that these Turkish dancers look exaclty like the what we think of as the quintessential 'bellydancer' and even the music sounds a little... familiar. Blame Howard Hughes and other filmmakers from the 1950s. For instance, Turkish dancer Nejla Ates appeared in Son of Sinbad, King Richard and the Crusaders, and other films. (and yes, that's Vincent Price watching her)

Just can't get enough of this yummy classic Turkish style? Here's a gorgeous performance by Nesrin Topkapi, another top Turkish dancer.

Floorwork

There's a reason why a sudden drop to the floor is called a Turkish drop. Here demonstrated in a VERY short clip by Birgul Beray:

And after she gets on the floor, this happens:

Turkish floorwork can sometimes be very sexual - and so can Turkish costumes! Here's Princess Banu again and yes, she's wearing what you think she's wearing:

Modern Turkish Style

In the late '80's to mid '90s, Turkish costuming became skimpier and the music got edgier. Which makes sense if you think of it as happening side by side with the Solid Gold Dancers in the U.S. Here's Pinar Elice, who some think of as more of a sex symbol than a dancer (like Pamela Anderson and acting)

This is Tanyeli, a major star from that period.

Although Turkish dancers became heavily associated with the micro-skimpy costume, that period really didn't last very long. Here's Taneli again, this time in the style of Turkish costume that was gaining popularity by the mid-90s -- a heavily decorated skirt, no separate belt, ornately appliques and trimmed with beads and rhinestones. Here you'll see the classic Turkish head movements and floorwork and some more serious dancing.

By the mid-90s, Asena was emerging on the Turkish scene. This young dancer brought a robotic precision to the dance that has influenced Turkish style ever since. Here she is on the Ibo Show, a TV talk show that is an important showcase for dancers in Turkey.

Just for fun, I can't resist sharing this brief clip of Asena with Paris Hilton!

Didem, a young Roman (Gypsy) dancer, took Asena's robotic precision to a new level and combined it with flexibility and showmanship to create a very unique style. Appearing regularly on the Ibo show has made Didem today's most famous Turkish dancer. Her technique is impressive, but Egyptian-style dancers often find her dancing to lack emotion, especially when she's performing to well-loved Arab classics. (watch the next generation of dancers being influenced by her style at the 2:05 mark!)

Now fully grown, Didem has developed a more languid, sensual style to compliment her legendary precision and control. Her much-enhanced appearance is controversial among other dancers, but seems popular with the general public. She is the visiible face of Turkish bellydance today and still a trendsetter.

There is still plenty of traditional Turkish-style dance going on, in spite of Didem's influence. This dancer enters on a litter, evoking that early footage of Princess Banu, and wears a very traditional Turkish style costume, including the strappy bra, V-shaped belt, high-slit skirt, and high heels. She opens with veilwork and closes with a Turkish Romany (gypsy) style 9/8 rhythm.

copyright 2010 by Lauren Haas for www.bellydancestuff.com. If you want to share this article, please do so by providing a link to this page. You're more than welcome to print yourself a copy, but copying and distributing this article is prohibited.

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