{"id":2626,"date":"2019-05-11T14:13:32","date_gmt":"2019-05-11T13:13:32","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=2626"},"modified":"2023-08-17T18:39:09","modified_gmt":"2023-08-17T17:39:09","slug":"raqia-hassan","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/raqia-hassan\/","title":{"rendered":"Raqia Hassan &#8211; Laban Movements Analysis &#8211; The Business Woman (5.7.1)"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter is-resized\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqia-hassan-bellydancer.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqia-hassan-bellydancer.jpg 600w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqia-hassan-bellydancer-200x300.jpg 200w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqia-hassan-bellydancer-533x800.jpg 533w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqia-hassan-bellydancer-355x533.jpg 355w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqia-hassan-bellydancer-267x400.jpg 267w\" decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Profile and analysis of the dancing style of Raqia Hassan the bellydancer.\" class=\"wp-image-2684 lazyload\" style=\"width:300px;height:450px\" width=\"300\" height=\"450\"  sizes=\"(max-width: 300px) 100vw, 300px\" \/><noscript><img decoding=\"async\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqia-hassan-bellydancer.jpg\" alt=\"Profile and analysis of the dancing style of Raqia Hassan the bellydancer.\" class=\"wp-image-2684\" style=\"width:300px;height:450px\" width=\"300\" height=\"450\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqia-hassan-bellydancer.jpg 600w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqia-hassan-bellydancer-200x300.jpg 200w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqia-hassan-bellydancer-533x800.jpg 533w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqia-hassan-bellydancer-355x533.jpg 355w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqia-hassan-bellydancer-267x400.jpg 267w\" sizes=\"(max-width: 300px) 100vw, 300px\"><\/noscript><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">(Raqs sharqi stars from the 1990s and 2000s)<\/p>\n\n\n\n<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_88 counter-hierarchy ez-toc-counter ez-toc-grey ez-toc-container-direction\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<label for=\"ez-toc-cssicon-toggle-item-6ab5bc3cf22db\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #999;color:#999\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #999;color:#999\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-6ab5bc3cf22db\" checked aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/worlddanceheritage.org\/raqia-hassan\/#Raqia_Hassan_Background\" >Raqia Hassan Background<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/worlddanceheritage.org\/raqia-hassan\/#Raqias_Career_Development_Phenomenology_and_Agency\" >Raqia\u2019s Career Development, Phenomenology and Agency<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/worlddanceheritage.org\/raqia-hassan\/#Her_Influence_and_Transmission_of_Raqs_Sharqi\" >Her Influence and Transmission of Raqs Sharqi<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/worlddanceheritage.org\/raqia-hassan\/#Ahlan_wa_Sahlan_Festival\" >Ahlan wa Sahlan Festival<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/worlddanceheritage.org\/raqia-hassan\/#The_Businesswoman\" >The Businesswoman<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/worlddanceheritage.org\/raqia-hassan\/#Laban_Movements_Analysis_and_Style\" >Laban Movements Analysis and Style<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/worlddanceheritage.org\/raqia-hassan\/#Dancers_Influenced_by_Raqia_Hassan\" >Dancers Influenced by Raqia Hassan<\/a><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Raqia_Hassan_Background\"><\/span>Raqia Hassan Background<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">According to online sources (Sharif, no date; El Safy, 1995), Raqia was born in Cairo and started dancing in the Reda troupe as a folkloric dancer at the age of 14.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, Raqia felt that folklore was not really for her and her real love was instead Raqs sharqi. She said \u2018I learned folklore \u2014 but I didn\u2019t like it, this is not my feeling.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">When I started teaching [Oriental dance] I felt, \u2018this is my way\u2019 (Luciano-Adams, no date, para. 16). Raqia never had the opportunity to pursue oriental dance as a performer, though.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">According to the American dancer Morocco, based on a comment she wrote under a Youtube video of Raqia (Marhaba Belly Dance Festival Rome, 2011) it was because of her family: \u2018What a fabulous Oriental dancer Raqia would have been, if her family had allowed it\u2019 (comment written as MoroccoCasbah).<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe class=\"lazyload\" data-src=\"https:\/\/www.youtube.com\/embed\/VmxNo_TY1m0?feature=oembed\" title=\"Marhaba!6th Belly Dance Festival Rome 2011, Jillina, Raqia Hassan...\" width=\"1080\" height=\"608\"   allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\">Belly dance festival Rome, Italy<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Raqia became a trainer in the Reda Troupe and, after 20 years teaching, \u2018in 1984 she coached her first Oriental dancer\u2019 (El Safy, 1995, para. 4) who was Azza Sherif.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Since then, Raqia Hassan has been coaching several famous raqs sharqi dancers, including Aida Nour, Fifi Abdou, Dina, Mona el Said, Nelly Fouad, Dandesha and many more.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqia-hassan.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqia-hassan.jpg 341w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqia-hassan-239x300.jpg 239w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqia-hassan-319x400.jpg 319w\" decoding=\"async\" width=\"341\" height=\"428\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Bellydancer Raqi Hassan\" class=\"wp-image-2645 lazyload\"  sizes=\"(max-width: 341px) 100vw, 341px\" \/><noscript><img decoding=\"async\" width=\"341\" height=\"428\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqia-hassan.jpg\" alt=\"Bellydancer Raqi Hassan\" class=\"wp-image-2645\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqia-hassan.jpg 341w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqia-hassan-239x300.jpg 239w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqia-hassan-319x400.jpg 319w\" sizes=\"(max-width: 341px) 100vw, 341px\"><\/noscript><figcaption class=\"wp-element-caption\"><strong>Figure 29<\/strong> &#8211; Raqia Hassan on one of her DVDs <\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Raqias_Career_Development_Phenomenology_and_Agency\"><\/span>Raqia\u2019s Career Development, Phenomenology and Agency<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Raqia\u2019s career development is an example of the interaction between agency and structures.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Raqia states that her folklore was not her \u2018feeling\u2019. Her perception (from a phenomenological point of view) was that she felt more at ease dancing Raqs sharqi instead.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, presumably because of societal pressure (the structural rules of society), she was not allowed to follow her passion, at first.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nevertheless, she asserted her agency by becoming a choreographer and trainer of Raqs sharqi, turning the limitations imposed on her by society into resources to tap into as she tied her self-identity to Raqs sharqi.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Moreover, as I will explain in the following paragraph, she used these resources not only to innovate artistically but also to increase her economic and social capital (and prestige) in the field of Egyptian Raqs sharqi internationally.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Her_Influence_and_Transmission_of_Raqs_Sharqi\"><\/span>Her Influence and Transmission of Raqs Sharqi<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">Raqia Hassan has been and still is hugely influential in the development and transmission of raqs sharqi worldwide, not only because she has trained many famous dancers, but also because she has built an international brand.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">She has traveled and still does so extensively across the world to teach at festivals, and she is greatly respected.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I attended one of her workshops at the International Bellydance Festival in Bognor Regis, UK, in 2007 (Lo Iacono, 2013b) and two of my participants still remember going to Raqia Hassan\u2019s workshops in their countries:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">I went to a class with Raqia Hassan and I bought a tape, it was a cassette tape back then and I really liked that music because the music had a lot more changes and it had a lot of stuff going on. (Abila)<\/p>\n<cite><a href=\"https:\/\/worlddanceheritage.org\/about-us\/\">Dr Valeria Lo Iacono<\/a> (2013)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">Before Raqia-style came to Finland we used to dance really low, with our knees bent. She made me see that it would be possible to be grounded and elegantly elevated at the same time . . . Raqia&#8217;s innovative technique is priceless. (Leena)<\/p>\n<cite>Leena, Researech volunteer for the PhD of Dr Valeria Lo Iacono (2019)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Raqia, however, does not just travel abroad to teach, but she also teaches in Egypt to people who travel there to learn Raqs sharqi in its place of origin.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Joana recalls how she approached teachers and arranged her first private lessons in Egypt \u2018through the first festivals Raqia Hassan organized in Cairo\u2019.<\/p>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">Francesca told me: \u2018I\u2019ve been to Egypt twice to study. I have followed the Raqia Hassan intensive winter course for teachers\u2019.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Ahlan_wa_Sahlan_Festival\"><\/span>Ahlan wa Sahlan Festival<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Raqia Hassan\u2019s main event is the <em><a href=\"https:\/\/www.facebook.com\/ahlanwasahlanfestival\/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Ahlan wa Sahl (opens in a new tab)\">Ahlan wa Sahl<\/a>an<\/em> (\u2018<em>Hello and Welcome<\/em>\u2019) Festival (Hassan, no date), which started in 2000 and is held in Cairo every year.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ahlan Wa Sahlan, from its first edition, had a great line-up of teachers from Egypt and outside, including Soheir Zaki, and it had about 170 dancers attending from all over the world (Wilkinson, no date).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the years that followed, the number of people attending has increased to the point of becoming (Luciano-Adams, no date, para. 21) \u2018a perfectly globalized village, which has grown to 1,200 participants from 55 countries\u2019.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"The_Businesswoman\"><\/span>The Businesswoman<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">Raqia Hassan is a businesswoman who has also her own costume designing brand and has produced a series of instructional DVDs (at least 12), plus CDs and DVDs from the festival.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Her instructional DVDs are the first systematic explanation, codification and listing of Egyptian raqs sharqi movements recorded on video.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For example, in volume VIII (El Nouran Company, 2005), she goes through a series of movements explaining how each movement can become sharqi or folkloric, depending on certain ways of performing it (for example on flat feet or relev\u00e9; with bent or straight knees).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">So, the DVDs are artifacts that Raqia has used as authoritative resources to influence the way in which practitioners dance, thus shaping the direction of Egyptian Raqs sharqi in the 21<sup>st<\/sup> century.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Raqia is also famous as a Raqs sharqi choreographer. She is a supporter of choreography, but she stated that \u2018when a dancer has a good ear for the music, the choreography will come automatically. . . . Choreography should flow from the dancer and look natural\u2019 (Taj, 2008, paras 22, 25).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">So, even for a supporter of choreography, in Raqs sharqi, musicality and spontaneity are necessary qualities of a good performance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It seems that the phenomenological, lived experience of the performer and the audience is still very relevant in the Egyptian Raqs sharqi aesthetic discourse; something that is supported by the framework of living cultural heritage.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Laban_Movements_Analysis_and_Style\"><\/span>Laban Movements Analysis and Style<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqia-hassan-dancing-style.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqia-hassan-dancing-style.jpg 459w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqia-hassan-dancing-style-300x233.jpg 300w\" decoding=\"async\" width=\"459\" height=\"356\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Raqia Hassan dancing style\" class=\"wp-image-2658 lazyload\"  sizes=\"(max-width: 459px) 100vw, 459px\" \/><noscript><img decoding=\"async\" width=\"459\" height=\"356\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqia-hassan-dancing-style.jpg\" alt=\"Raqia Hassan dancing style\" class=\"wp-image-2658\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqia-hassan-dancing-style.jpg 459w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqia-hassan-dancing-style-300x233.jpg 300w\" sizes=\"(max-width: 459px) 100vw, 459px\"><\/noscript><figcaption class=\"wp-element-caption\"> <strong>Table 34<\/strong> &#8211; Raqia Hassan\u2019s style <\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Table 34 illustrates Raqia Hassan\u2019s style. As highlighted earlier, in the excerpt of the interview with Leena, she achieves a grounded and lifted feeling at the same time, by keeping her legs straight.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Her style is, overall, soft and relaxed, apart from occasional sharp hip accents.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">An innovation consists in her hips and lower torso movements being quite internal, which gives an intense inner feeling.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">She explains this by stating that now \u2018for every step, we put it inside the belly. We go back to the belly\u2019 (El Safy, 1995, paras 7, 9).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Badia Masabni, regarding the changes she made to local Egyptian dance back in the 1920s, said that \u2018in the past, the dance was all in the abdomen\u2019 (Adum, no date, pt. Second Segment-Family), and she added new elements.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Now, Raqia is building on the heritage of movements of this genre, keeping all the innovations achieved thus far, but focusing more on the belly, once again.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Dancers_Influenced_by_Raqia_Hassan\"><\/span>Dancers Influenced by Raqia Hassan <span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The dancers who have been influenced by Raqia Hassan, retain many of Raqia\u2019s style characteristics.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">These characteristics include: internal small hip circles (already noted for the first time in Mona al Said); sharp hip isolations (which can be seen in Dina and Randa) and attention to the lyrics (which are mimicked using gestures; a habit, I noticed, that was first started by Fifi Abdou). Indeed, El Safy (1995, para. 7) comments:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">Mona Said\u2019s powerful pelvic drops, Dina\u2019s large, halting hip circles and shimmy overlays with sharp knee accents, and other popular favorites like the large stance shimmy, strong frontal and diagonal pelvic projections, and internal abdominal work are all key elements of Raqia\u2019s stylistic influence.<\/p>\n<cite>l Safy (1995)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Raqia\nstresses these stylistic elements during her workshops, as Habiba (no date, paras 8,\n9) comments:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">She taught us to intensify hip movements with the leg and knee. She insisted the lyrics be interpreted in dance. She used the compressed internal emotion of the core . . . be yourself. The dancer must adapt what she learns to her own style and personality.<\/p>\n<cite>Habiba<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This last quotation highlights that, whilst Raqia codified Raqs sharqi, she also values dancers\u2019 individual and emotional contributions to the dance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hence, the terms spontaneity, emotion, self-expression return once again in the Raqs sharqi discourse.<\/p>\n\n\n\n<p class=\"has-vivid-red-color has-white-background-color has-text-color has-background wp-block-paragraph\"><strong>Next Page &gt;&gt; <span style=\"text-decoration: underline;\"><a href=\"https:\/\/worlddanceheritage.org\/dina\/\">The dancer Dina &#8211; a daring and modern belly dancer from the 1990s and 2000s is profiled<\/a>.<\/span><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>(Raqs sharqi stars from the 1990s and 2000s) Raqia Hassan Background According to online sources (Sharif, no date; El Safy, 1995), Raqia was born in Cairo and started dancing in the Reda troupe as a folkloric dancer at the age of 14. However, Raqia felt that folklore was not really for her and her real [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":2685,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[20],"tags":[],"class_list":["post-2626","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-raqs-sharqi"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Raqia Hassan Laban Movements Analysis - The Business Woman (5.7.1)<\/title>\n<meta name=\"description\" content=\"Laban movements analysis of Raqia Hassan belly dancing and dancer. 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