Raqs Sharqi: Learning With Respect and Joy
Raqs sharqi or Baladi — often called “bellydance” or “Oriental dance” by English speakers — is a rich and expressive art form with deep roots in the cultures of Southwest Asia and North Africa. Its traditions span regions including the Maghreb, Levant, and Khaleej, with influences from Egypt, Lebanon, Syria, Morocco, Tunisia, Turkey, Greece, and beyond; each contributing to the dance’s diverse history and enduring vibrancy.
With such a long and diverse cultural lineage, it is natural for people with origins outside these regions to wonder: Is it cultural appropriation for me to learn or perform raqs sharqi if I am not from one of these cultures?
Hmmm… the short answer is: not necessarily. Learning and enjoying raqs sharqi as a student or artist is not automatically an act of appropriation; the difference lies in how you approach the dance.
Understanding Cultural Appropriation
Cultural appropriation occurs when elements of a culture are removed from their original context, used without acknowledgement, or consumed in ways that diminish their meaning. In the case of raqs sharqi, this can appear through: stereotypical costuming; illogical blending of cultural symbols; the use of fantasy aesthetics that exoticize the dance; disregard for culturally significant music and traditions; or performances and attitudes that marginalize the voices and artistry of the communities who created and continue to sustain it.
When cultural practices are adopted without respect, they risk reinforcing harmful clichés and turning living traditions into mere commodities. In short, cultural appropriation in raqs sharqi reduces a living tradition to stereotype and spectacle, overshadowing the voices and artistry of its originators.
Welcoming Students to Learn With Respect
At Duniya Studio, we believe participation should be open and joyful, but respectful engagement is essential. We approach the teaching of raqs sharqi with deep respect for its cultural roots, music, history, and context. Our instructors actively acknowledge and honour the artists and teachers from the origin cultures who have shared their knowledge, and we encourage our students to learn directly from these sources to strengthen both their cultural and artistic foundations.
Our classes warmly welcome students who hold a personal cultural connection to raqs sharqi and its countries of origin. We deeply value the knowledge, insight, and lived experience they bring; their presence enriches our community and strengthens the bridge between the dance as it is practiced locally and the traditions that sustain it globally. We are always honoured when dancers with roots in the source cultures choose to share their artistry and heritage with us; their participation helps ensure that cultural understanding remains at the heart of our learning environment, one where knowledge is celebrated, respected, and passed forward alongside artistic growth.
We also warmly welcome those who do not have origins in the source cultures. Many of our students come to raqs sharqi out of curiosity, admiration, or a love of movement. What matters most is the spirit of learning and respect they bring; through study, listening, and openness, they too become part of sustaining the dance’s living tradition while honouring its cultural roots.
In our classes, students don’t just learn movement; they are encouraged to explore the music, rhythms, languages, and cultural settings that give the dance its meaning. We emphasize that when students step into this art form, they are participating in a living tradition that belongs to vibrant, ongoing communities. Whether students have cultural roots in the dance or come to it from outside these communities, their learning carries both artistic and cultural responsibility. By approaching raqs sharqi with curiosity, respect, and openness, all students can honour the traditions that sustain it while developing their own artistry.
Exploring the Traditional and Folklore Roots of Raqs Sharqi
Raqs sharqi is not only a vibrant performance art but also a living repository of cultural memory and folklore. Its movements, rhythms, and musical phrasing are deeply tied to the daily life, rituals, and traditions of the communities where it originated. At Duniya Studio, we explore these roots by studying traditional dances, regional styles, and folk narratives alongside the more theatrical forms popularized on film and stage. This approach helps students understand the cultural context behind the movements, the symbolism embedded in gestures, and the ways music and dance have historically conveyed stories, emotions, and social values. By connecting with the traditional and folkloric origins of raqs sharqi, students gain a richer, more informed practice and a deeper appreciation for the communities that have sustained this art over generations.
Fusion and Innovation
Building on this foundation of cultural understanding, we approach new ideas through the lens of respect, ensuring that creativity honours the traditions and communities from which raqs sharqi originates. Like all art forms, raqs sharqi has continually evolved, interacting with and influencing other movement traditions across time. Fusion is a natural part of artistic expression, offering opportunities to build bridges between cultures and to create new forms of storytelling through dance. When done with care, it can be a beautiful way to honour multiple traditions, explore cross-cultural exchange, and celebrate shared creativity.
However, we believe that innovation must never come at the expense of cultural relevance and respect. At Duniya Studio, if and when we explore fusion styles, we do so carefully and thoughtfully; ensuring they remain grounded in, and mindful of, the source cultures that shape and sustain the art. Innovation and tradition can exist hand in hand; we embrace creativity and innovation while staying rooted in respect. Any blending of styles is approached thoughtfully, always honouring the source cultures that give raqs sharqi its depth and meaning.
What Is Absolutely Cultural Appropriation?
While there are many nuanced areas in cultural exchange, some actions fall squarely within the realm of cultural appropriation. In the context of raqs sharqi, the following are clear examples of when appreciation crosses the line into appropriation:
- Erasing or rebranding origins: Presenting raqs sharqi as your own invention, or renaming it in a way that removes its Arab, Turkish, or North African roots, is a form of erasure. The dance’s lineage must always be acknowledged, respected, credited, and used accurately.
- Using fantasy or misapplied nomenclature: Inventing “ancient goddess” narratives, fictionalized origins, or applying inaccurate terminology to movements, props, or styles (such as assigning non-existent “tribal” or “gypsy” labels) distorts cultural history and replaces authentic traditions with imagined ones.
- Exoticizing or sexualizing the culture: Performing or marketing the dance using stereotypes of the “mysterious,” “seductive,” or “exotic” middle-eastern woman strips the art of its cultural dignity; these portrayals perpetuate Orientalist myths rather than honouring the people and traditions behind the dance.
- Using sacred or cultural symbols out of context: Incorporating religious attire, sacred motifs, or traditional clothing (such as regional costumes or jewelry) as decorative or theatrical props, without understanding or respecting their meaning, is appropriation.
- Fusing or mixing cultural elements without relevant context: Combining movement styles, music, or aesthetics from different cultures without understanding their meanings, histories, or relationships can create confusion and misrepresentation; fusion without context risks flattening distinct traditions into a generalized “ethnic” performance rather than celebrating the integrity and depth of each culture involved.
- Mocking or parodying the culture: Any performance, costume, or social media post that turns Arab, Turkish, or North African culture into a joke, caricature, or costume party theme is inherently disrespectful.
- Ignoring or silencing source voices: Teaching, performing, or profiting from raqs sharqi while disregarding the artists, musicians, and cultural experts from its home regions — or even worse, while arguing with and speaking over them — reproduces colonial dynamics and erases the communities who sustain the tradition.
In short, appropriation occurs when the dance is used by non-natives for personal or commercial gain without recognition, understanding, or respect for the cultures it comes from. Appreciation, by contrast, seeks connection, learning, and mutual respect; it honours the source rather than exploiting it.
An Invitation to Dance
So, this brings us back to the question: Is it cultural appropriation to take a raqs sharqi class if you are not Arab, Turkish, or North African? In my peronsal view: no, not when it is approached with openness, humility, and genuine appreciation. Cultural appropriation begins when the dance is stripped from its roots, turned into a costume, or presented through stereotypes. When learned with respect and curiosity, it becomes an act of connection, not appropriation.
By learning with respect, acknowledging the origins, and celebrating the communities that gave birth to raqs sharqi, dancers of all backgrounds can participate in a way that honours rather than erases the source. At Duniya Studio, our doors are open to everyone who wishes to engage with this dance form in a spirit of respect, curiosity, and joy. Together, we celebrate a tradition that remains alive, vibrant, and deeply meaningful.