Bellydancing is not your typical art form, either. In fact, in the Bible belt of Virginia, it was pretty rare indeed. That was, until Beyond the Veil hit the scene two years ago. This group of ladies borrowed the ancient art of Middle Eastern Dance and then proceeded to shake up the local festival, party, and special event circuit. Their appearances on television, in the newspaper, and on radio created a mini bellydance boom and now classes are popping up in recreation centers, dance studios, and private homes all over as students and housewives get into the act. But what is the appeal of this dance?

My mom didn't know what to think when I told her I wanted to bellydance. It all started one day when I was at my friend's house and we were playing dress-up with her mom's costumes. Her mom was videotaping us and encouraging us to dance. When my turn came, I just did it. It was fun. I wasn't afraid. The moves just flowed out, and I loved the costuming. I thought it was good exercise and basically very pretty. This is me in one of my great costumes.

For many modern dancers, the initial attraction comes from the costuming! The most recognized costume is the bedlah, or cabaret costume. This vision was created by Hollywood and is now considered standard fare for dancers. It is the glitzy, glass bead, sequin, shiny fringe belt and bra get up with the mid-section left bare. It is worn usually in stage productions and nightclubs, but never in the countryside where the dance originated.

In the country, the costuming is much more conservative. The dress covers the dancer from neck to ankle. The only adornment is a simple coin scarf tied around the waist to accentuate the dominant hip movements. Bellydancers also imitate the costuming of the various Gypsy tribes. Costuming will vary from tribe to tribe. Even in America, there are fantasy Gypsies- troupes dancing with costuming, jewelry, and dance movements borrowed from different cultures. These dancers are some of the most glamourous of all. Their full skirts, beautiful headdresses, heavy silver jewlery, and tattoos make them quite mysterious even before they dance a single step. (The best example of this is SanFrancisco phenomenon FatChanceBellyDance seen at www.dnai.com/~ash/FCBD).

When I got home, I told my mom what I had been up to, but she didn't know what to think. She wasn't sure what bellydance was. She trusted and respected my friend's mom and didn't think she'd do something shameful, but was still not ready to let me take lessons. After a while, she said I could try.

While the costuming is certainly attractive, this is not why most members of Beyond the Veil started dancing. For each the reason is different. Taaj began as a way of getting regular exercise. She wasn't an aerobics type person, but wanted something she could do alone, without special equipment, that did not depend on the weather. Bellydance seemed to fit all that, so she went to her first class. There a seed was planted that grew into an obsession and occupation. Taaj is now the publisher of Zaghareet, a national magazine dedicated to the American bellydancer, a professional solo dancer, a workshop sponsor, dance teacher, and member of Beyond the Veil.

Halima's reasons for dancing involved the pull of female comraderie. Dancing was something she could share with other women without being self-conscious and without feeling competive like in sports. It was a beautiful way of exploring self- expression in a supportive environment. In ancient times, women danced only for the gods and goddesses in temples. It is a spiritual pursuit that has lasted to this day. Avanha approaches her performances with this same thought in mind. Her choice of music is often soulful and dances are devoted to God. She often performs with a sword and/or veil- great accompaniment for this quiet style. The youngest member of the troupe, Jasmin, is only 14. Jasmin was attracted initially to the costuming. Her flashy, bold dance style matches the shiny costuming on the outside. While she started dancing for the glamour of it, she keeps dancing for the fun of it.

My teacher, Taaj, is also a workshop sponsor, so I got my first opportunity to dance two months later at one of her functions. When my mom saw all the beautiful women performing, her perspective changed and she began to see it as an art form. She was really impressed with the show and was really proud of me. Since then, she has supported me so much. (She makes all my cool costumes).

By now, you might be wondering about the strange names in Beyond the Veil. Since this dance evokes images of something mysterious and foreign, each dancer takes a name which conjures images of the Middle East while representing her persona. (This is true of Beyond the Veil, but not all dancers do this). Some names are authentic, others are simply made up. "Taaj" is arabic for "crown." She chose this because most female arabic names mean something flowery, elegant, and beautiful. She felt something less showy fit her better. "Halima" means "lady of patience."

My name, Jasmin, comes from the character in Aladdin. That was my image of the Middle Eastern woman and dancer. It is something mysterious, pretty, and but not too foreign. (Everyone can pronounce it, too). It is how I hope everyone sees me.

Avanha made up her name. At first, she wanted Havana, but thought it sounded too Cuban. The "H" was moved toward the end. The result sounded more Middle Eastern. The troupe decided upon a name by discussing images, then writing suggestions on a piece of paper. Obvious names were already taken by other troupes, so they were ruled out. They also wanted something unique. They discussed the history of the dance and decided upon "Beyond the Veil." Being aware of the oppression women of the Middle East suffered, they wanted the public to know that the dance is now taken further than the women of the veil and is blossoming in directions never dreamt of before. Through public performances and the influence of modern music and dance, the ancient artform is something American women can enjoy and pass along to their daughters and share with their friends.

Even with something so lovely, American audiences are quickly bored, so Beyond the Veil must provide lots of variety in their shows. One way they do this is through props. The props most often used are cane, sword, veil, baskets, and zils. Cane dancing is traditional entertainment in the Middle East. It originated by men doing demonstrations with sticks to show off their prowess in battle. The women took up canes, a more delicate version of a stick, as a means of making fun of their masculine displays. It is now commonplace to see this dance done in village settings as well as in cabarets.

Not long afterward, I was invited to be a member of my teacher's troupe, Beyond the Veil. It was such an honor because they are all grown women and have been dancing for so much longer than I have. They really respect me and I feel like contributing part of the troupe. My ideas matter. We all help each other develop and grow. Even though I am still new to it and am only 14, I can voice my opinions and know my feelings matter. It's one of the reasons I love it so much.

There are many legends about using the sword in dance. Some say swords were integrated into the dance with the Gypsies, others say that sword dancing is totally fantasy and has no place in it. (FYI: While some Middle Easterners like this dance, Egyptians do not militant displays and discourage the use of swords in their venues). Beyond the Veil often uses swords in troupe and solo portions of the show. The delicate balancing and spinning garnishes thunderous applause and audience appreciation.

My favorite part of dancing is performing for people in nursing homes. I know the people like it and appreciate us coming. I also like performing at haflas because I get to solo. That means choosing my own music, my own costume, my own dance. It's the best opportunity to be creative and have fun. (For example, I have danced to The Lion Sleeps Tonight as well as arabic and Turkish music).

Contrary to popular perception, the veil is not considered authentic by those who know it's history. The earliest proof of veil use in dancing was in the Hellenic period. Even in the Middle East today, the veil is used more for a wrap than a prop. In Western adaptations of the dance, veilwork is often intricate and quite beautiful. Basket dancing is a theatrical improvisation, based on images of women dancing in country settings, which has become accepted as authentic. Many of the movements in bellydancing are taken from women's work, for example, washing and grinding pepper. These movements are often incorporated into a folkloric style choreography that could feature baskets.

Some people might not understand it or think that it's weird, but I think that's because they don't get it. My friends think it's pretty cool. In fact, three of them are also taking lessons. I think it's good for them to get involved because it inspires them.

Zils are not really props. They are brass finger cymbals which, when played well, are musical instruments. Zil playing is becoming a lost art both here and the Middle East. Many dancers do not play at all. Even fewer play them well. All members of Beyond the Veil have a basic understanding of zil patterns and Middle Eastern rhythms. They incorporate them into their dances when it is appropriate, bringing excitement to energetic dances and subtle undertones to parts that are meant to be quiet.

Once I performed solo at my school during a talent show. At first, the principal said I couldn't do it. She thought it was something inappropriate, but after I showed her a video tape of a troupe performance, she gave her permission. At that time, not many people knew I was doing this. I think my classmates were probably shocked, but I think they also liked it and wanted to know more. I guess it's a bit unusual!

Another way Beyond the Veil provides variety and a sense of something foreign is with the music. Middle Eastern music is very different from western music. The scale is not based on an octave of whole and half steps. They often utilize 1/4 steps, notes that are impossible on western instruments. It's quite unusual to the western ear. The rhythms are also unique. They have set beats which differentiate the origin of each song. For instance, karsilama is a 9/8 rhythm associated with Turkish music. There are also 10/8, 6/8, 7/8 rhythms as well as the more common 4/4 and 2/4 rhythms. Dancing with live drummer playing these mysterious beats is an extra touch Beyond the Veil brings to some events.

When I am not dancing, I enjoy playing the violin, learning cello, swimming, skating, and playing soccer. My troupe is encouraging me to learn how to play violin the Gypsy way. There is a lot of music that uses violin. We are dreaming of having Taaj on doumbek (Middle Eastern drum) and me on violin playing for the troupe someday. That will be in the far future, if ever, though! Right now, we dance with some SCA (Society of Creative Anachronisms) drummers. That is our only live accompaniment. We dress in Gypsy style when performing with them. This dance style is less structured and freer. Our skirts are huge and swirl in the air, taking up lots of room and making great effects with all the different colors. Lots of spinning and skirt action!

Each member brings something special to the troupe. They take advantage of this by functioning as a whole rather than a head with a bunch of followers. There is no "leader." Each person contributes to booking events, creating choreography, choosing music, deciding upon wardrobe. Traditions of each culture are considered when creating each show. The history of women as dancers is always respected. Beyond the Veil makes it a priority to share their knowledge with the audience and interested public. They feel that a beautful performance is a beautful performance, but greater understanding always enriches the experience. They feel that this has been the secret to their success. When in the Hampton Roads area, be sure to check the local paper for events that may include Beyond the Veil. They are often featured at charity events and festivals as well as events that are private affairs. For more information call (757) 363-0363 or send email to: zaghareet@earthlink.net.

When I get older I want to study violin in college and hope to make a career out of it, but I also want to continue dancing. Maybe I will teach? It's been a positive experience for me. I am glad to have the opportunity to share it with you.

Jasmin