Belly dance is primarily a torso-driven dance, with an emphasis on articulations of the hips.[2] Unlike many Western dance forms, the focus of the dance is on relaxed, natural isolations of the torso muscles, rather than on movements of the limbs through space. Although some of these isolations appear superficially similar to the isolations used in jazz ballet, they are sometimes driven differently and have a different feeling or emphasis.Flowing, sinuous movements in which the body is in continuous motion, which may be used to interpret melodic lines and lyrical sections in the music, or modulated to express complex instrumental improvisations, as well as being performed in a rhythmic manner. These movements require a great deal of abdominal muscle control. Typical movements include horizontal and vertical figures of 8 or infinity loops with the hips, horizontal or tilting hip circles, and undulations of the hips and abdomen. These basic shapes may be varied, combined and embellished to create an infinite variety of complex, textured movements.Small, fast, continuous movements of the hips or ribcage, which create an impression of texture and depth of movement. Shimmies are commonly layered over other movements, and are often used to interpret rolls on the or riq or fast strumming of the oud or qanun (instrument). There are many types of shimmy, varying in size and method of generation. Some common shimmies include relaxed, up and down hip shimmies, straight-legged knee-driven shimmies, fast, tiny hip vibrations, twisting hip shimmies, bouncing 'earthquake' shimmies, and relaxed shoulder or ribcage shimmies. As a social dance, belly dance (also called Raqs Baladi or Raqs Shaabi in this context) is performed at celebrations and social gatherings by ordinary people who are not professional performers.[8] Dancers wear their ordinary clothes rather than a special dance costume. Dances that could be described as belly dance are performed in this context by men and women of all ages in Egypt, often including young children. In more conservative or traditional societies, social occasions are often gender segregated, with separate parties for men and women - both women[9] and men may take part in dancing at single-sex gatherings. Belly dance is not the only social dance in this region. Other notable social dances include the Levantine dabke and the hair-tossing women's dance of the Gulf states, Raqs al Nasha'al.Turkish oriental dance is referred to in Turkey as Oryantal Dans, or simply 'Oryantal'. The Turkish style of bellydance is lively and playful, with a greater outward projection of energy than the more contained Egyptian style. Turkish dancers are known for their energetic, athletic (even gymnastic) style, and their adept use of finger cymbals, also known as zils. Connoisseurs of Turkish dance often say a dancer who cannot play the zils is not an accomplished dancer. Floorwork, which has been banned in Egypt since the mid-20th century, is still an important part of Turkish bellydance.Another distinguishing element of Turkish style is the use of a 9/8 rhythm, counted as 12-34-56-789, often referred to as Karsilama rhythm. Karşilama, in Turkish dance, is not a rhythm but a folkdance performed in a line, where as a 9/8 (dokuz sekiz) rhythm defines the count of the rhythm and is used both karşilama and Roman havasi.Belly dance was popularized in the West during the Romantic movement of the 18th and 19th centuries, when Orientalist artists depicted romanticized images of harem life in the Ottoman Empire. Around this time, dancers from Middle Eastern countries began to perform at various World's Fairs, often drawing crowds in numbers that rivaled those for the science and technology exhibits. It was during this period that the term "oriental" or "eastern" dancing was first used. Several dancers, including the French author Colette, engaged in "oriental" dance, sometimes passing off their own interpretations as authentic.Although there were dancers of this type at the 1876 Centennial in Philadelphia, it was not until the Chicago World's Fair that it gained national attention. There were authentic dancers from several Middle Eastern and North African countries, including Syria, Turkey and Algeria, but it was the dancers in the Egyptian Theater of The Street in the Cairo exhibit who gained the most notoriety. The fact that the dancers were uncorseted and gyrated their hips was shocking to Victorian sensibilities. There were no soloists, but it is claimed that a dancer nicknamed Little Egypt stole the show. Some claim the dancer was Farida Mazar Spyropoulos, but this fact is disputed.