A principle of all Oriental dancing is its frank acknowledgment of avoirdupois. It employs none of the devices by which lightness is achieved, choosing as its aim, rather, the representation of a plastic quality that exploits rather than denies the meatiness of flesh texture. The heel is not often raised high from the ground, and indeed the foot is often planted flat. A mannerism intensely characteristic of the Oriental use of the foot is a trick of quickly changing its direction after it is set on the floor but before the weight of the body is shifted to it; the twist may leave the heel stationary as a pivot, or the ball. The effect is as though the dancer were making a feint to deceive the spectator as to the direction of the next turn, and doubtless such contribution to interest is the intent. It at least adds intricacy, and directs attention to a pretty foot. Of the latter adornment, whether covered with little Turkish slipper with turned-up toe, or bare, possessors are impartially proud.
Mystery of movement in certain parts is a further characteristic distinguishing the Oriental work from anything to be found in the Occident, with the exception of certain tricks of the Spanish Gipsy—tricks which, after all, furnish no exception, since they are Moorish absolutely. The Oriental covers little space in her work. A space large enough to kneel on would admit all that her art requires. She has no leaps to make, nor open leg-movements. Much of the time she has both feet on the floor, is active chiefly in arms and body. Much more of the time her feet are engaged in steps hardly noticeable.
The foregoing observations on Oriental work apply more particularly to the low latitudes than to lands farther removed from the equator. China and Japan have a choreography like that of the Southern regions in some respects; but their custom of bundling the dancer
up in clothes is the cause also of differences so pronounced that they had best be considered as of a different category. Purely as a convenience, therefore, let it be understood that Japanese and Chinese dancing shall be referred to by those names; and that the word Oriental shall be understood to signify the dances of the sinuous-body type, to which pertain those of the Arabs of North Africa and elsewhere, the Persians, Turks and some others.
To the dancing of men, where any is done, generalities as to the style of Oriental dancing fail to fit in many cases. Exceptions are not numerous, however; because, if for no other reason, far the greater part of Oriental dancing is done by women. Of the few exceptions some are dances of religion, others of war.