Abstract Finger cymbals, played with one pair in each hand like castanets, are iconic of the Middle Eastern ‘belly’ dance, which has been represented in numerous pictorial works and photographs since the 18th century. Middle Eastern dancers show that it is possible to dance while using two small cymbals in each hand, attached to two different fingers with straps from the cymbals’ holes. Starting from the observation that many such small cymbals have been found in Roman archaeological sites, this article asks whether Roman dancers played these small cymbals like Middle Eastern dancers do today. The question is complex, because Roman dancers were able to play small cymbals in other ways, such as holding just one in each hand, or inserting them into cymbal tongs. This article presents a typological and functional study of small metal cymbals attached to fingers in Roman iconography. Three examples are considered: a mosaic from the Roman city of Augusta Traiana (now Stara Zagora) in Bulgaria, and two stone reliefs, one from Orolaunum (now Arlon) in Belgium and another from the Podocataro Palace in Rome, dated from the 2nd to the 4th centuries ce. These remains testify to the use of fingers cymbals, two in each hand, attached directly to two different fingers, by dancers from the Roman Empire.