Melbourne has held this art properly for decades, mostly through its Lebanese, Egyptian, Turkish and Greek communities, and the performers who came up in that work trained for years in one regional style. Egyptian raqs sharqi does not look or sound like Turkish oriental, and a family who grew up with one will notice within about four seconds if you have booked the other.
So name the occasion and the tradition in your first line. The local list is short and the performers know each other, which means an honest one will point you at somebody better suited rather than take a booking they are wrong for. Ask several at the same time instead of working down the page one message at a time.
Top picks are the acts in this category in Melbourne, without a review, rating or premium ranking: all these sort keys are tied.
You are buying a short, dense piece of work, often twenty minutes of dancing and occasionally a second appearance later in the night, so the totals land under what people expect from a trained solo performer. Distance is the Melbourne lever, since the dancers sit in a handful of suburbs and get asked out to the far east and the west constantly. Have the travel priced separately so it is not buried inside one figure.
Start with the family rather than the internet. If your side of the room grew up with Egyptian, Turkish, Lebanese or Greek celebrations, say that word in the enquiry and the right performer will identify themselves straight away. American tribal fusion is a genuinely different look again and suits a festival or a themed party more than a traditional wedding.
In a restaurant the customary place is once mains are cleared, with the room settled and nobody yet reaching for coats. At a wedding it is often the entrance, drums leading the couple in, with a second appearance after the formalities. Book it too early and half your guests are still parking. Book it after the dance floor opens and you are competing with your own party.
Watch video of a real function rather than a studio piece, and look at what the room is doing, not just the dancer. Then ask which style they trained in, how many minutes one set runs, and whether they offer a more covered costume if your event is a school fete or a conservative family gathering. A performer who answers all three plainly has done hundreds of these.
A few performers turn up self contained, speaker in the boot, needing nothing but somewhere to plug in. Others hand you a track and assume your venue has a system and somebody competent on it. Either is workable. Working it out during the set is not.
Tables and chairs need moving before the set starts, not while the first track plays. Ask the venue to do it early, and leave the dancer an open side to work towards instead of a ring of guests closing in from every direction.
Most sets finish by bringing guests in to dance, and at a family celebration that is often the best part of the night. Tell the performer who would love it and who would hate it, and they will build the finish around the room.