The relationship between music, moves, pattern and geometry is one that occurs naturally - yet the awareness of this can lead to greater insight into the art of Oriental dance. Dance and religion - areas so often seen as polarities of the other - are linked through manifestation of shape and symbol; a universal articulation.

Sacred geometry exists in dance - spacial shape-making, creative lines and movement that affect our senses, understanding and perception of the space we inhabit. Like nature and science, dance and music have their roots in organic pattern that is part of a natural geometry or underlying structure.

Sacred geometry is based on cosmology. To understand cosmology, we must first define a cosmos. A cosmos, by definition, presupposes an underlying order to the universe. Cosmology is the study of the universial creative principles and energies that begin with a centre point - or point of creation and then grows from the centre via a point of departure - we see this in the growing embryo, flowers, snowflakes and stars.

The study of this cyclic, numerical order known as cosmology began evolving thousands of years ago, with the first quest for knowledge of the workings of the universe explored through the cyclic forces of nature by various nature worshipping cults and societies; the Pharonic dynasties, pagans and goddess revering religions, to the more recent religious sects of Buddhism, Hinduism, Taoism and Islam.

Today, some of the most prolific sacred geometry exists in Islamic art. More than merely decorative art, the Islamic scholars studied the laws and patterns of the cosmos to create art that brings sacred cosmology to the spectator as well as the artist.

The study of cosmology, since ancient times, has affected and shaped the arts - dance, music, sculpture and painting. The secrets of sacred geometry lie in numbers, patterns and mathematical laws. Numerology is a further esoteric branch of comsmology, and originates from the studies of the famous Islamic scholar Al Jabr (father of the mathematical science of Algebra).

Al Jabr's studies found that the order of the stellar constellations, nature and the universe were inextricably linked to a greater cosmic patterning based on the principal of simplified shapes and polygons: the triangle, square and the parent of all polygons - the circle. The creative powers of shapes were discovered to make perfect mathematical sense when divided, superimposed, spiralled and layered - numbers working in rhythms, cycles and time/space relationships.

This scientifically valid process underlies all Islamic art, which translates a metaphysical language of sacred geometry to the viewer - the circle of wholeness, the square of earth, the triangle of the sacred trinity. In Christianity it is believed the trinity are the Father, Son and Holy Spirit, in Islam the trinity is represented by Allah, Rahman and Rahim - the names that precede all Islamic suras (chapters).

Islamic art's strong aesthetic appeal transcends distances in time and space, as well as differences in language, culture, and creed. Islamic art not only invites a closer look but also beckons the viewer to learn more.

The Sacred Polygons, Circles and Arabesques

From the basic polygons or shapes, layered geometry creates pentagons (5 pointed stars), hexagons (containing 6 pointed stars as in the Star of David and the main theme of the Islamic star shape in Islamic art), the octagon (eight sided polygon) and icosehedron (twelve sided polygon).

The most fundamental two-dimensional figure in Islamic art is the circle. According to Islamic thought, all polygons can be constructed from the circle and are contained within it. Hence, the circle can be thought of as underlying every geometric pattern. Since it has no beginning and no end, it is a symbol for eternity, unity, and wholeness. In Islam, a circle is also an expression of justice, as it represents equality in all directions.

Islamic art, like moves of the Oriental dance of the east, builds from a core circle. The circle continues to guide the design, but is "felt rather than seen."

The circle, Islamic scholars claimed, held all shapes and was of special relevance to 'sixness' - with the seventh point being the centre. As in the six days of creation and the seventh day of rest. Or divisible again into twelve - symbolic of the twelve planets, hours of the clock, the twelve apostles or the twelve Imams of Islam. Or twenty four - as in days in the year.

Another popular pattern style in Islamic art is the arabesque. An arabesque is a group of intertwined lines and shapes meant to simulate the forms of plants, including flowers, leaves, and stems. "The continuity of the interlacement invites the eye to follow it, and vision is then transformed into rhythmic experience accompanied by the intellectual satisfaction given by the geometric regularity of the whole" (Buckhardt 61).

Since shapes are part of an unchanging scientific, natural and cosmic order, can the shapes we create in dance - either as floor plans or within the symmetry of the body - become part of this 'sacredness'?

The Link to Middle Eastern Dance

In society, arts reflect the rhythms and timings the people live by more strongly than any other influence. Expression becomes an adaptive trait that works within a framework of social rhythms, interaction between people and the comprehension of the past, present and future.

The numerical order of sacred geometry presents itself in the rich tapestry of rhythms and dance in the Middle Eastern arts, which have a direct correlation with Islamic art styles and geometry. The shapes that manifest in all cities, towns and villages in the Middle East in the architecture, Mosques, design and intrinsic patterns occurring in living spaces become a visual reminder of the ancient sacred geometry it was founded on.Whether people are aware of this phenomenon or not, they are affected by the shapes they live with.

The circle is the foundation polygon, from which emanate the star like shapes that Islamic art is based on. These shapes intertwine, transform and duplicate themselves in patterns of four, six, eight and twelve mainly - even numbers with strong foundations. The circle also represents the fertility principle, and is widely used in Middle Eastern dance.

Divisible structure is reflected in the Middle Eastern rhythms, and as in Islamic art, the flowing text flows over the structure and can be likened to the melodies, mawaals or improvisations. Scientifically, Islamic art is one of the most advanced as the flowing text is mathematically formulated to flow organically, yet perfectly superimpose the structural base pattern. Like dance, there is a balance of structure and improvisation.

The mawaal, originally a meditative call song to prayer, is a popular introduction to many Eastern balads. With a strong yet meditative backbone, and a freedom of heartfelt melody and ornamentation, the music is what creates the movements of the dance of the East. Hence we can link Islamic art principles to the form of the Middle Eastern music, which is the carrier of the Middle Eastern dance. Therefore, the original science, sacred geometry and nuance must be transmuted through the dance.

Numbers and Patterns - Symbolism and Manifestation of Shape

I propose an esoteric view of dance which couples with the Islamic notion of sacred numbers, rhythms and arts. Here I bring the metaphysical elements to the movement - referencing the archetypal numerical system from the Islamic arts.

A-Z was actually based on these principles, which is possibly one of the reasons it 'resonates' so well with so many dancers.

One is the number of the centre, the creation point - the seed of infinite possibility. One represents the beginning - an idea which could generate an action, a point from which could be drawn a line, a breath from which a gesture of dance could manifest. This is your initial pose in dance - relaxed, ready, full of possibilities. It is the point from which the circle evolves - the mother of all bellydance moves. Whole, complete, contained.

Two is coupling, symmetry, balance. The masculine in union with the feminine. Two unites left and right - figure eights, shoulder rolls, balance and continual flow. The symbol of two circles overlaid is the sign for sacred marriage, where each circles 'centre' is touched by the other circle. The lemnaskate - the mathematical symbol for infinity - is drawn as two circles just touching. The ancients used the image of a snake with its tail in its mouth, metaphorically shedding its skin as a representation of the female menstrual cycle that paralleled the cyclic waxing and waning of the moon. This is the shape of the figure of eight and possibly the reason why one of bellydancings strongest, soothing and balancing moves that is believed to create a healing energy and affect fertility.

Three is the trinity, the pyramid, the sacred trine. It is the primal archetype symbolising minimal conditions for existence - the one, the other and the conjunctive (eg; the viewer, the viewed and the viewing or birth, death, life or the maiden, the mother and the crone). Three is the number of beats in the sensual chiftetelli and Egyptian wahda'l kebira - a rhythm ripe for movement on the three accented beats and a supple transition move on the fourth.

Four is the earth number, stable and strong. It is the basic for most rhythms in the Middle Eastern music and the pattern repeats with stealth - four hip drops on the right for example, then four on the left. Four is the cross, the seasons, the elemental astrological groupings of air, fire, earth and water. Eastern music incorporates quarter tones and four-based timing. The dancer can also face the four directions when dancing to this pattern. The dancer who understands 'the rule of fours' finds dancing easier.

Five is the number of nature and a powerful number is bellydance - in Al' Jabr alchemical square of Saturn, five always remains in the centre for all the algerbraic equations. It symbolises change - a perfect time to take a new step, create your new move, break away from the basic four that preluded it. In a series of eight, it is the beat that is stressed as the 'changing' beat. The pentagon and pentagram ancient pagan symbols of nature and the natural elements.

Six is creative completion in itself and symbolises the creative completion of the six days of creation. It can occur as two triangles superimposed (the hexagram) and in dance, assumes a repetitive pattern of six similar steps of moves, then changes on the both the seven and eighth beats. As a group choreographic device, either in hexagonal or circular structure the shape is balanced which makes it ideal for group dances. In circular format, the 'sixness' of the circle places emphasis on the mystical centre (or seventh) point.

Seven is the lunar number of the feminine - and is often quadrupled as in the lunar cycle of 28 days. Seasonal and cyclic, as in summer, spring, autumn and winter, it governs the fertility cycles and the birth/death cycle. One group of seven shows the first cycle of waxing and growth, the second fecundate and full, the third waning and the fourth the release. The seven is particularly strong in the Hindu arts, with the seven chakras, and dancers wishing to investigate this could look at the various qualities of the chakras and colours affecting mood and even choice of costume colour! Al Jabr discovered that the lunar month is built on the principle of seven being not only four times itself, but also the addition of each 'sphere of heaven' or an equation of 1+2+3+4+5+6+7 = 28. In dance, the seven beats can be danced on and the eighth registers change or pause before the next 'cycle'.

Eight is a power number, symbolising wholeness and harvest - with the duplicated stability of four, it shares similar qualities. In Chinese arts, it is the number of abundance and prosperity. Rhythmically, in Middle Eastern dance it represents a whole pattern. In music when eight doubles it is called a 'double octave' and creates a phrase to which we can execute a range of moves within 16 parts. Note: A-Z is based on the recurring principle of double octaves within Eastern music, particularly Egyptian rhythms.

Nine is the number of perfection - the magic dodecahedron; three perfect equilateral triangles or an arrangement of 9 parts, three layers of three - excellent for group choreography as the group can turn to face any direction and be even. Remember the nine times table from school? Each multiple of nine equals nine, ie: 9, 18, 27, 36, 45... the sum of the parts always equal the whole.

Ten, the Pythagorean ideal - the philosopher's perfect number, being the sum of 1+2+3+4 =10 and now the foundation of digital timing. Pythagorus' philosophy was based on the tetractys - a triangle made up of 1 at the top and four at the bottom - an equilateral triangle, and he believed that music, song, dance and ritual were based on the tetractys' perfect symmetry. This is great for group formation, as all three sides have four people.

Eleven in pattern is the most difficult number to create pattern with as it is not divisible bt any number evenly in groups. Like the number 13 it is viewed as a number which is restless, and often associated with the occult and magic as it is always one number out of pattern - a disruptive force. Neither are used in Islamic pattern.

Twelve - the icosahedron is the cosmic representation of the twelve astrological houses. It is used as a base for many Islamic patterns. Twelve represents the hours of the clockface dividing day and night, the twelve Imams of Islam and Jesus' twelve disciples. A perfect balance of the trine and the four elements (mentioned earlier), this number incorporates the multiples of three and four (as seen in the zodiac), and two and six (symmetry and balance), giving extra strength and power to this number if used in troupe choreography. The shapes you can make are amazing - squares, stars, circles, triangles and more - especially when the each member of the group is positioned like the numbers of a clock.

More information about the Circle in Dance >>

If this subject interests you, here is some further reading

Religious Beliefs Made Visual: Geometry and Islam - http://www.askasia.org/frclasrm/lessplan/l000030.htm

Islamic Art: Geometric patterns and nature - http://www4.hmc.edu:8001/humanities/mus127s/islam.htm

Islamic Patterns: An Analytical and Cosmological Approach by Keith Critchlow - http://www.gotoit.com/titles/islpat.htm

Lessons in Islamic pattern - http://www.dartmouth.edu/~matc/math5.pattern/lesson5art.html

http://www.metmuseum.org/toah/hd/cali/hd_cali.htm

http://www.metmuseum.org/toah/hd/orna/hd_orna.htm

http://islamicart.com/

Book of Islamic Patterns, an analytical and cosmological approach by Keith Critchlow