Updated 10/21/2025
When we talk about Egyptian style belly dance—also known as Raqs Sharqi—we’re referring to a way of moving that feels natural, musical, and grounded. The phrase “dance of the East” was used in Egypt to mark this as a locally grown dance (rather than something imported like ballet or ballroom). Wikipedia
Over time it grew from social and folkloric dances like Baladi into a stage-form that includes influences from many directions—including Western dance, theatre and stage performance. worldbellydance.com
When I teach this style in Port St. Lucie, I always suggest students feel the music as much as see the steps. The space between the beat—or even slightly behind it—is often where the true feel of Egyptian style lives.
Belly dance itself tends to focus on the allure of the female form, teasing methodically. But that doesn’t mean more erotic forms do not exist, like topless belly dancing.
However, for the most traditional form, Raqs Sharqi is what most people think of.
Here are some qualities I encourage you to explore:
- A relaxed upper body with arms flowing softly from the back through the fingertips.
- A lifted rib-cage with hip work that’s detailed and expressive rather than necessarily huge or flashy.
- Footwork that travels, but quietly—small steps, side shifts, touches and occasional backward releases.
- Musical interpretation: we value how you feel the music, interpret it in your body, rather than simply doing big physical tricks.
- Less floor work, fewer extreme back-bends, minimal veil tossing or extended zill/sagat work (unless you’re mixing styles).
These are the gestures that give this style its character.
Let me tell you a little story: I was teaching a group of new students last week and one of them kept rushing ahead on the pick-up of the beat. I asked her to close her eyes, listen to the drum, and wait one little fraction of a second after the phrase before moving. Suddenly her hips felt more connected, her arms relaxed more, and the dance slowed down yet felt more powerful. That kind of subtle pause—that gentle “just after” the beat—is very Egyptian style.
When you watch Egyptian style dancers, aim to see whether they move with the music (not just in time with it). It might look simple, elegant and calm—but often underneath there’s a lot of detail. The simplicity doesn’t mean weak, it means refined.
How Egyptian style differs and how to spot it
I always tell students: if you’re dancing Egyptian style, you’re not trying to “out-flash” someone doing more theatrical styles. You’re working with internal control, flow, subtle accents and musical sensitivity.
Costume & presentation:
In modern Egyptian style you’ll often see sleek lycra two-piece costumes (bra + decorated skirt) or dresses that hug the figure, rather than huge wings or massive veil tumbling. The idea is stage visibility with elegance. Classic Egyptian style dancers stick with more upright posture and refined costuming rather than excessive floor work or elaborate props. Wikipedia
Movement vocabulary:
- Arms: Flow from the upper back and finish in the fingertips. There may be rolling or “punching” of shoulders but not wild flailing.
- Upper body: The rib-cage might lift and drop rhythmically, the belly may pop outward or lock inwards for accent, rather than large undulations or circling.
- Hips/pelvis: You’ll see figure 8s, twists, vertical figure 8s, backward releases, small detail. It’s not always “look-at-this” big circle every time—but when you watch closely you’ll see nuance.
- Feet: Traveling is common—sideways slides, touch-steps, backward drops. But turns and spins are used sparingly. If you see someone just whirling constantly, they might be leaning more into fusion or theatrical rather than “pure” Egyptian style.
- Sound & timing: The dancer often moves slightly behind the beat or rides the space after an accent; there’s musical listening happening.
When I demonstrate in class I often stand beside students and count out loud the “1–and–2–&” so they feel the space after the beat. When they slow down into that space, it starts to “feel” right.
Modern faces to watch & study:
While the golden-era dancers remain iconic, I like to point students to modern Egyptian style performers so you see what this looks like today. For example, Layla Taj works in classical Egyptian raqs sharqi style and emphasizes musical interpretation and upright posture. Wikipedia
Also, there is ongoing work in Egypt by younger women reclaiming belly dance as serious artistic expression rather than purely entertainment. AL-Monitor
In your own practice I encourage you to look up contemporary Egyptian style dancers online and see how they phrase their hip work, how they “sit” in the music, how their arms connect to the torso. Try to replicate that feel rather than just the look.
Why this matters:
Two students told me after a workshop that they felt “flat” when they focused only on big, flashy moves—they lost connection with the music and the audience. When we switched focus to the subtle, internal work and listening, their movements looked smaller yet more grounded and confident. Egyptian style invites you to own the music rather than be seen doing the biggest move.
From my floor to your mirror practice
When I step into the studio—or onto a small stage—I remind myself: this isn’t about proving I can do more. It’s about letting the music breathe and letting my body answer it. I feel the drum, then I let my ribs lift, then the hips respond. I sometimes imagine the audience two rows back, not right in my face, and I settle into that space.
Try this next time you practise: pick an Egyptian orchestral track or a classic song (slow tempo to start). Close your eyes for the first 8 counts. Then step forward on your right foot, touch with your left, drop your rib a little on the “and”. Then slide sideways, hips responding, arms flowing back. Do just five moves, repeat them, but aim to feel the pause after each phrase. Then gradually add one small hip figure 8, one shoulder roll. Practice so you can feel the music before you act it.
In class one student paused mid-move and said, “I heard that little echo in the music, and I waited—and it felt like I stepped into it instead of ahead of it.” That moment stuck with me. That’s the heart of Egyptian style.
And so, when you look in the mirror or rehearse at home, ask yourself: Are my hips listening, or am I just moving? Am I behind, or am I racing? Do I feel the music, or am I performing the move? Work with those questions and your dance will deepen.
Keep dancing, keep listening—and may your movements speak as much as you do.