The greater challenge, however, has been society at large. Fifteen years ago, bellydance in India was often misunderstood. Learning, teaching, and performing were far more difficult then. But things have come a long way. Today, bellydance is recognized as a legitimate art form, gaining growing appreciation and respect. As an Indian bellydancer, I’ve learned that breaking stereotypes requires patience, dedication, and constant education. I’ve performed at various events, workshops, and festivals to promote the art form’s rich cultural heritage and artistic value, and I’ve witnessed a slow but positive shift in societal perceptions.

Still, the journey isn’t without its challenges. Finding the right opportunities to make a living through bellydance can be difficult, as the remnants of old stigmas persist beneath the surface.

In your experience, what are some of the biggest misconceptions about belly dance in India, and how do you address them? 

One of the biggest misconceptions about bellydance in India is that it’s purely sensual or erotic, which often comes from how it’s portrayed in the media and mainstream Bollywood. In reality, we know that bellydance has a rich cultural history and is deeply artistic. I address this by focusing quite a bit on its heritage, history and technique in my performances and/or teaching, showing its depth beyond the surface-level perception that exists today. 

Another common misconception is that it isn’t a legitimate art form, especially when compared to classical Indian dances like Bharatanatyam or Kathak. But bellydance requires just as much discipline, training, and musicality, and I emphasize this by highlighting its rich history, the technical, emotional and storytelling possibilities. 

There’s also a stereotype that only women with certain body types can bellydance or ONLY WOMEN should bellydance, which I challenge by promoting body positivity, inclusivity, making it clear that bellydance is for everyone, regardless of size, shape or gender. 

Lastly (and I get this a lot) some people think that because bellydance isn’t native to India, it doesn’t belong here and we shouldn’t care as much. I counter this by pointing out that many art forms evolve and spread across cultures, and bellydance is no different. Today, bellydance is a global dance style. Over the years, I’ve seen perceptions shift but there’s still a lot of work to do.

You are well known for your productions, such as musicals and Reda-style recreations. What inspires you behind each of these?

Recreating Mahmoud Reda’s dances and paying tribute to his legacy has been one of the most meaningful projects I’ve worked on. It wasn’t just about honoring his genius, but about educating audiences on the beauty of Egypt’s theatrical folklore styles and the rich, diverse art forms that Reda brought to the stage. His work captured the essence of Egyptian folk traditions and transformed them into vibrant, theatrical performances that resonate with people worldwide. By recreating his iconic pieces, I wanted to give audiences a glimpse into the depth and cultural significance of these dances—from the lively Saidi to Ranet El Khulkhal, to the vibrant Nubian movements—showcasing the diversity and beauty of Egyptian folklore.

What drives me behind each production, whether it’s a tribute to Reda or a fusion of different styles, is my deep love for history and storytelling. I’m passionate about weaving these elements into my performances, blending education and entertainment. Dance is such a powerful medium of expression as I have learnt in my formative years, and I strive to keep it respectful to its cultural roots while making it engaging for modern audiences. 

For example, one of my productions combined bellydance with Indian classical and contemporary dance to tell the story of the great Indian epic, the Mahabharata, showing how different dance forms can work together to form a compelling narrative. In my most recent production, based on Beauty and the Beast, I wanted to demonstrate how bellydance can be woven into a classic fable, revealing the versatility and depth of the art form. Through all of my work, I aim to entertain, educate, and celebrate the richness of dance in a way that resonates with people from all walks of life, while being mindful and respectful of cultural nuances and boundaries.

Can you share more about your experience organizing such events?

Organizing these events has its challenges, especially when it comes to finances. It’s tough to find sponsors who are willing to back something like bellydance, which still carries some stigma in certain circles. More often than not, I end up putting in a lot of my own money to make these productions happen. It can be stressful, trying to balance creativity with financial limitations, but in the end, it’s worth it. Seeing the audience leave with a new appreciation for the art, and knowing that I’ve contributed to changing perceptions, makes the investment worthwhile. The satisfaction of creating something meaningful outweighs the challenges.

With your experience in Reiki and energy work, do you see connections between these practices and dance? How do they complement each other in your life and practice?

As a spiritual healer, Tarot reader and Reiki practitioner, I’ve come to realize that both Reiki and dance are about flow—whether it’s the flow of energy or the flow of movement in the body. Reiki helps me tune into and balance the energy around and within me, while dance is a way to express and release that energy physically. Both are forms of healing, but they work in different, complementary ways.

For me, dance becomes a way to embody the energy I work with in Reiki. When I perform or teach, I channel that energy through my movements, allowing the dance to become a release and a form of self-expression. It’s a powerful way to connect with myself, with others, and with the energy around me. Reiki keeps me grounded, while dance gives me the freedom to express and shift that energy. Together, they support each other in my practice, creating a balance of healing, expression, and connection that is both deeply personal and transformative.

talk by Shruti Narayanan

You have a strong foundation in Bharatnatyam and Egyptian folklore. How do these two forms influence your approach to belly dance?

My 20+ years of training in Bharatanatyam have really shaped how I approach all forms of dance, including bellydance. Bharatanatyam is all about strict discipline and structure, with dancers only debuting on stage after around 8-10 solid years of training. It’s not just about learning the movements, but understanding the culture, the stories, and the meaning behind every gesture. That kind of foundation gave me a real respect to study the roots and get into the depth of any dance form, and it’s something I carry with me in everything I do.

With bellydance, I bring that same respect for tradition and technique. While bellydance might feel more fluid and free in certain ways, the structured approach I learned from Bharatanatyam helps me connect to the rhythm, storytelling, and cultural richness of Egyptian folklore. There’s a lot of discipline required for this as well and I think my classical training has helped me appreciate that balance. It’s all about honoring the roots of each style while giving myself the space to express and create.

I loved your performance at Kan Zaman, where you recreated a Golden Era dance clip. What intrigues you about the history of belly dance?

Thank you for your kind words! I loved creating the video for Kan Zaman and in a subject that is so close to my heart! The historical aspects fascinate me because everything is so rich and layered—there’s so much to uncover, so much to study and learn! The Golden Era, in particular, holds a special place for me because of its connection to Egyptian cinema, its glamorous performers (who I have fangirled over for over a decade now), and the way dance was used as a form of storytelling and expression.What intrigues me most is how bellydance has evolved and yet still carries so much of its traditional roots. The iconic performances by Samia Gamal and Taheyya Kariokka weren’t just about dazzling audiences with movement—they were about embodying stories, emotions, and embodying characters. Recreating those performances gives me a chance to explore the depth of the dance and to honour the art form in a way that connects the past with the present. It’s a beautiful blend of history, music, culture, and storytelling, and it’s something I try to bring into my own work because I personally believe my style flourishes when it is an amalgamation of everything.

As a teacher, what core principles do you emphasize when guiding students through this historically rich dance form?

First, I always encourage students to feel and listen to the music and not just hear it for the sake of hearing it. Bellydance is so deeply tied to rhythm, instrumentation and melody, and the movements come alive when you’re in tune with the music—it’s about more than just steps, it’s about telling the story of the sound with your own body.

Body awareness is another big focus. Bellydance requires control and precision, whether it’s isolating the hips, the chest, or shoulders. I make sure my students develop a strong sense of posture and alignment because that’s what gives the movements their grace and depth. For that, I have always emphasized on regular, consistent training and dedicated practice.

I also try to instill a respect for the cultural history behind the dance. I want my students to understand the traditions and stories that have shaped the dance, so they can approach it with respect and appreciation, without running the risk of cultural appropriation. 

Lastly, I always encourage students to find their own voice within the dance. But I encourage them to do it properly first with the right teachers, before setting off on their own. At the end of the day, Bellydance is ultimately about expression—whether it’s joy, passion, or any emotion that moves you. It’s about using your body to tell a story, and I want them to feel confident and free in that expression. 

Being a dancer, organizer, and teacher can be exhausting. How do you maintain your mental health, and do you have any routines that help you stay balanced?

I’ve honestly struggled and there are days I still find myself grappling with the basics of everyday life. I have personally faced a burn out, dealing with frequent high-performance anxiety issues, imposter syndrome and perfectionist tendencies. I’ve learned my lessons the hard way that pushing myself too hard only leads to exhaustion.

To maintain my mental health, I’ve had to develop routines that help me stay grounded. I make time for meditation, slow walks, and quiet reflection—moments when I can truly check in with myself. I also remind myself that it’s okay to step away, to rest, and to not have everything under control all the time. It’s important to give myself permission to be imperfect and to embrace the fact that I’m human.

To my students, peers and readers: please remember that taking care of your mental health is just as important as your physical health. You don’t have to do it all or be perfect. It’s okay to struggle, it’s okay to pause, and it’s okay to seek help. Balance is something we must create for ourselves, and it’s a journey, not a destination. Be kind to yourselves. You deserve it. Bellydance or anything else that seems urgent is not going anywhere, it’ll still be there when you get back. Take care of YOU.

Can you share a meaningful moment in your dance journey that had a significant impact on your artistic vision?

Ah! There have been so many moments in my dance journey that have significantly shaped my artistic vision, but one of the most memorable instances was being recognized by the Reda troupe and offered the ambassadorship. That moment felt like a culmination of years of hard work and dedication, and it gave me a sense of validation that encouraged me to keep pushing boundaries and keep learning.

But honestly, there are countless other moments—each one a stepping stone that’s impacted my path in ways I never could have imagined. Working on productions like Strii, inspired by the epic Mahabharata, or Tale as Old as Time, based on Beauty and the Beast, challenged me to merge different cultural influences, to push my creative limits, and to see dance as a storytelling medium with endless possibilities!!!

Training with some of the world’s best teachers and visionaries, learning from resources by artists like Nisaa, Badriyah, and Shining, watching incredible documentaries such as Funoon Shaabeya by artists like yourself —these have all contributed to my growth and artistic evolution. Each of these experiences, whether big or small, has been a piece of the puzzle, helping me see dance as more than just movement. Ultimately, it’s the moments of learning and growth, the moments of connection with other artists, and the moments of personal reflection that continue to shape my vision. They remind me that dance is about more than just performance—it’s about sharing stories, breaking barriers, and continuously evolving.

GUEST QUESTION:
What is inspiring you right now?

Right now, I’m inspired by the magic of merging worlds—where history meets modern storytelling. I’m driven by the beauty of making the past dance with the present. It’s about honouring tradition while creating something new…I’m also finding inspiration in my students, their curiosity and dedication, and the way they connect with the music and stories behind the dance. It reminds me that there’s always something new to learn and explore from them.