Sharqi, or classical is the most refined form of Egyptian music and dance. This style is more balletic, with smaller movements, isolation and lyrical, expressive arms and upper torso. A veil is often used, particularly for the entrance. Its style is more detached from the audience and spiritual at its best. Unfortunately it is not really seen in Egypt.The arms in Sharqi are straighter and more expressive, describing slow, airy patterns around the dancer. Sharqi is more of a theatre dance, requiring space for large gliding steps and spins

Cabaret is a mixture of the above styles, with strong Turkish influences such as hip lifts and deep back bends. American dancers in particular, enjoy mixing other dance styles such as Flamenco and even acrobatics, with Egyptian steps. Veils and other props are often used, and the dancer concentrates on entertaining the audience. Some of the best cabaret style can be seen on old Egyptian films from the 1940's where the crossover of Turkish and Egyptian styles can be seen. This is the style often used in restaurants and is more like what people imagine when they think "belly dance".

American Tribal is a recent style developed in America. It combines movements and clothes from gypsy, bedouin, and other Middle Eastern or North African tribes and is heavily influenced by Flamenco and Indian dance. It is most often performed as a troupe.

Tunisian Dance tends to be folky, with steps not seen in Raqs Sharqi. Dancers mime planting the fields, cooking and other ordinary activities. Hip twists are done towards the back and one interesting step involves lifting one leg up wide and forwards, as if going over a stile, then twisting that hip backwards upon putting the foot down. There is a lot of footwork on the toes, twisting and intricate steps which vary in dynamic.

Moroccan Dance is also folky and has movements representing activities such as carpet weaving, sowing seeds and flattening the soil. Pelvic tilts are used a lot and the shimmy goes forward and back, unlike the Egyptian up and down. Many steps from Raqs Sharqi are now danced by Moroccans. The Schikhatt was originally danced at pre-wedding parties and is now a leisure activity for Moroccan women. The Guedra is a trance ritual dance performed by a woman on her knees. She uses intricate movements of her hands to give blessings. She begins the dance on her feet, then drops to her knees when the rhythm changes. The dance can go on for hours
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Algerian Dance includes movements also used in Raqs Sharqi, such as shimmies, hip circles and drops. There is a strong Andalucian influence in the dance, particularly seen in the fiery hand movements. Amel Tafsout is an Algerian dancer who specialises in Maghreb dance.
Rai Dance is becoming more and more popular in Egypt and the Maghreb. Rai means "opinion" and is revolutionary music, both in its lyrics and the less traditional feel. Rai can contain elements of jazz, and I have heard drum machines and funky sounding guitars as well as authentic Arabic instruments. It is generally energetic and makes good party music if you like a modern/young feel.

Turkish Dance is more showy and less grounded than traditional Raqs Sharqi, and includes floorwork, zill-playing and more wrist circling. We see all of these in bellydance across the world, as the influence of different cultures has spread. Costume in Turkish dance is skimpy compared to Egyptian cabaret, although this seems to be changing now, and high heels often worn. In Turkish folk dance, however the costume is traditional. I have seen Turkish men dancing folk-style and they were very elegant, shimmeying their shoulders up and down. It reminded me of Armenian Dance.

Lebanese Dance this is closer to Turkish than Egyptian dance and heels may be worn.

Persian Dance can be energetic and fun as well as lyrical and very beautiful. Gestures and the eyes are very important, and the hips are used far less than the arms, hands and torso. Spins are used a lot as well as some graceful floorwork. Miming activities such as applying make-up requires an actress' awareness and control. Medea Mahdavi (UK) and Robyn Friend (USA) are both excellent at this dance.

Armenian Dance is included here since I became a fan from trying it out at Glastonbury dance festival. There are traditional steps, but often Armenians will all be doing different steps to the same music. Dances are often in circles or in lines. Some steps similar to Raqs Sharqi are used, such as gentle shoulder shimmies and hip sways, but it is very different. Armenian dance can be very beautiful, proud, lyrical and full of feeling. A common theme is that of having to say goodbye to a loved one, which can be seen as a person, or as alluding to the forced movement and genocide of the Armenian people. The dance can also be highly energetic, with leaps and stamps. Steps include the grapevine, placing the heel to the ground and many symbolic gestures. The women's classical dance has beautiful arm and hand movements, spins and is similar to some Persian Dance. The men's dance is more athletic and can include spinning on the knees, huge leaps and shouts. Great practitioners of Armenian dance are Gagik Mekhitaryan and Shakeh Avanessian who are both in the UK at present.

The Zaar is an energetic pre-Islamic trance ritusl done to exorcise negative energy and involves swinging the arms and head, shaking, pelvic tilts, and other loose movements. A zaar can go on for many hours, until the dancers drop down exhausted. There are somewhat similar trance dances in North Africa such as the Gnawa. Some Sufis from Turkey and around the world do a religious ceremony called Zikr (Rememberance of Allah). This also can go on for hours or days, and can involve spinning (Whirling Dervishes), rolling the head, bowing, arcing the chest from left to right and other movements designed to bring the participant closer to Allah. Phrases from the Qoran are chanted.