Debke, Debkhe, Debka

Debke or any other spelling similar to this!

Always a happy dance of celebration and community from Lebanon, Palestine, Jordan, Syria and neighboring countries. Of note, Egypt doesn’t have a debkeh per say…they dance balady! Different songs have their own steps, different families dance differently to the same song. People from Ramallah dance differently than other Palestinians and Jordanians and Assyrians have their own debkes.
Considered a folk dance if you will and is done in a line generally doing CCW counterclockwise, starting with the left foot. The leader(on the left) often will twirl a napkin or prayer beads/misbaḥah in his/her left hand raised.

Why debke? Well, as “bellydancers” we don’t really debkeh in our performances, but some of our movements are informed by debke. For some reason(which are a lot of reasons) they end up being intertwined and mixed in with Saidi steps from Upper Egypt. Remember I said Egypt doesn’t have a debke, but dances from the Said, particularly the tahtib often have exuberant steps and phrases that are similar to debke. To make it more confusing, you will see Arabs (regardless of regions) use a saidi like song to debke to. Or musicians play a debke song for a saidi (assaya) dance! (Ya Ein Moulayetin)

In social gatherings, either in a nightclub, wedding or other hafli/celebratory environment, you will see it as a social dance..and enjoy it as such! On the stage, with a debke group, you can expect to see very tightly choreographed and talented dancers.

Either way…check it out in the spirit of play! The next time you see a debke line, join in.

https://youtu.be/OciXryfpwL8 the basics

https://www.youtube.com/watch?v=aVg6VKAZqQA a little fancier

https://www.youtube.com/watch?v=sOMgc62HTx8 Ya Ein Mouleyetin Samira Tawfik a famous singer who sang in a Jordanian Bedouin style. You can see her here singing and her dancers are mixing bedouin style dance with a tiny bit of debke. The costuming is not Jordanian, so you can see this is for film only and not indicative of any real dance.

A professional Palestinian debke group, wearing the black and white keffiyah and tabl(drum) https://www.youtube.com/watch?v=JFamVSP2V3c

And maybe you saw this debke flashmob at Beirut Airport dancing to famous song Huwara!
https://www.youtube.com/watch?v=VEp29GS1VXI

A little more casual debkeh line ( I think They are professional)
https://www.youtube.com/watch?v=DqODHIGqIQU

One of my faves

https://www.youtube.com/watch?v=nYL1ws6OMeM

A dancer’s blog, with some good background.
https://www.youtube.com/watch?v=DqODHIGqIQU

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Balady, Beledi, Baladna or Balady Progression

Example of a Balady Dress with a little Saidi styling to go with

Beledy, baladi, balady…beledy tet, balady, or progression….

However you spell it , it is considered by many to be the heart and soul of Egyptian or Arabic music, a perfect buildup of anticipation to a climatic drum solo or a segue into another folkloric song. It’s a “Must Know” for any serious student of Middle Eastern Dance or music.

It can refer to My country, a rhythm, structure, a style of dance, a style of dancer, a class of peoples, or a section of a traditional 5-7 part cabaret style show in which it is danced usually right before drum solo.

There are progressions that can be categorized as Tet ( which Sahra Saida categorizes as “male” in origin and most likely originating in the Said region of Egypt and further exemplified in Amina Goodyear’s recollection of early lessons with Fatima Akef in the 70’s) where toe touches, taps and saidi like adornments of the accents flavors the progression. It is also characterized by the org (organ in modern times or /accordion way back) creates an accent in the music that begs for movement and in opposition to the common musicality rule of late..down on the down beat which I first heard taught in the 80’s by drummer Souhail Caspar.

There are progressions that can be categorized as Baladi Awad (Woman’s Style, again thanks to Sahra) which have a different feel, that can be easily be felt in comparison to the Tet. Which I won’t try to explain with words as you’ll need to feel both of them to understand!

There are older folk songs like the ones listed below that have the elements of beledy and have been historically part of the 5-7 Egyptian Style Routine, mentioned earlier. You could easily count on any musician from the region and age..lol to to know these. I laugh because the whole “routine” of any evening of entertainment with a dancer is no longer happening as the norm, but an exception in the US and many musicians are younger and may not have played music when this genre was popular, included in the dancers show and almost without exception a played in Arabic nightclubs.

Songs

Bint Al Sultan (Daughter of the sultan) Ahmed Adaweya.
Ya Hassan ghouli Tet wahada kabir into masmoudi kabir
Beledy Ya Wad/tet
Sheek Shak Shook
Habibi Aiyni
Aminti Billah Beledi Tet

Musical Elements

Taksim or Awwady
you may also see it spelled Taksim, Taxsim, Taxim, or Takasim. It is an Arabic word which means “division”, and refers to the section of music where a specific instrument is playing a solo. The Arabic taqsim is improvised—in a restricted sense—according to traditional patterns, and is almost never played in the same way twice. Musically speaking, any solo instrument improvising in the Arabic taqsim structure is playing a taqsim, including the drum taqsim that dancers usually call the drum solo.
Sekkat Transition
Melodic with drum accents
Me-Atta
In traditional Arabic music, this refers to the question-and-answer that goes back and forth between a melody instrument and a drummer.
Medium Maksoum into
Fast Maksoum Sahra says her musicians called it saeria, RanyRenee  calls it ingerara, mine called it fuss(fast) and may go into Fellahi.
Can end with  a drum solo, or slows down and merges into another song.

An Egyptian Musician’s Perspective
http://www.shira.net/baladi.htm

A really good example of some of the musical elements of a balady

Hayatim ya hassan a ghouli

https://www.youtube.com/watch?v=mrCbiG0v9Ns

Fifi

https://youtu.be/I7opiTZO47g

Our little class study of a progression

Pure Improv at a wedding


Fini

Khalis

 

 

BellyDance in Dubai

Photos, L-R, top-bottom on taken on a i-phone 6 .

Top 3 photos of the “Darth Vader Wand, unknown dancer at an outdoor desert safari, Tannoura dancer at Safari, Warda, me and my BFF partying into the wee hours!

Dubai, one of 7 emirates, collectively known as UAE , is situated on the Persian Gulf. By some reports the work force is 80-90% expats, and from what I saw the professional belly dancers are 100%. Favored are the very petite and very young of course! The small sizes of the majority of dancers, gave the illusion of prepubescent to me, that maybe because I’m getting s little long in the tooth as the saying goes! Although not considered a place of destination for Belly Dance per se like Cairo, there are abundant nightclubs and cabarets featuring full length dance shows, with incredible musical accompaniment and soulful singers. Like Cairo, the shows start late and go into the wee hours of the AM. Shisha and alcohol fueled (but not too much as public intoxication is a no no) is the way to enjoy these evenings. And of course a hearty appetite! The mezzas are divine and generally 2 coursed, hot and cold. In the states I’m only used to a first course, but when in Rome … Or Dubai..you get what I mean!

The Belly Dance shows are what you would expect… Well kind of.

First, it is illegal to tip the musicians, singers or dancers. So no money showers, no tip necklaces, no discreet palm shakes after the show. In addition to no tipping that means that none of the entertainers leave the dance floor. Even during the folkloric section where it’s generally acceptable to even go out into the audience to do a greeting or photo-op with distinguished guests.  Instead, tipping is done by the audience through a token purchase of champagne and it turns out that its cheap champagne! So bottles of champagne are placed on the dance floor with these mega-sparklers and poured either for the singers and band members, but no money exchanges hands.

The dance shows are typical five or seven parts with lots of folklore and every dancer had a gulf dance included in her set, some more vigorous than others. A lot of props were seen, the dancers started their marjence or majency with poi veils, fan veils or Isis wings. An interesting prop, new to me, was the Darth Vader wand! This prop was accompanied by a Saidi  or Debkhe song. The pictures below do not do the prop justice! They expand with an ever changing array of colors, designs and symbols. Ranging to country flags, club name and logo, national icons like Feiruz and Oum Kalthoum, and I swear I saw Sara Palin on one of the Darth Vader Wands…

The dance itself is very fast with a very modern musical interpretation. Which left many audience members reminiscing about Fifi, Mona, Sohair etc… Per conversations overheard at neighboring tables.

If you are looking to take a dance class while you are there, look up Warda. An expat from Brazil, living in the region for well over a decade definitely has the feel for the Gulf.

If you are looking for an adventure and dance and or shopping is your thing, Dubai will be sure to please.

 

Zar, Ritual and Meaning

MeRedritualZar, Ritual and Meaning.

I have adored spinning since early child hood. Do you remember the feeling of being outside and staring up at the sky spotting and spinning until you dropped in laughter? Maybe you don’t…or maybe the “Merry-Go-Round, Ring- Around the Rosies? …but I, can still feel that sensation of delight in my bones and am smiling with the feelings of that memory right now. Maybe with the change of seasons, I am being drawn to rituals that sustain and ground me, and movement and dance has always played a big part in my life in how to accomplish that sensation.

Many countries have rituals of movement and dance for medicine, self-help, connecting with the Divine, finding your divine or releasing demons of the mind. My favorites are the Zar, Sufi Spinning, and Tarantella, which I’ve had much less experience with, but feel a profound connection because of my Italian heritage.

Most of you may know the ayoob rhythm, but there are many rhythms that are used to induce trance..If you are so inclined might I suggest Yasmin Henkish’s workshops and if that’s not a possibility get her Zar CD, get a hard copy, not a digital download. The text accompanying the CD is a lesson unto itself and a important scholarly work for an inquisitive dancer. You can get that here.
Enjoy a little Inspiration

Shoo-Shoo Amin doing a Zar as part of her nightclub act. I think this is around the late “80’s in Egypt.

This documentary (please turn speakers down, as it loads immediately into a high-pitched sound) from Iran, I had always thought of Zar as an Egyptian phenomenon, and maybe it is an error of the producer of this video to call it as such, but this shows us the boundaries of geography are liquid and dynamic when it comes to ritual.

Whirling Dervish I was exposed to this form of spinning from one of my dance teachers who studied with the Mevlevi when they came to America, I think in the late ’70’s or early 80’s. Prior to that time no women were taught this or included in the ritual in its land of origin. This tongue in cheek essay, gives a good overview with instructions and video links for your enjoyment. Of course, if you ever get to Turkey, you must, must go to see them.

My little Ayoob. This was part of my nightclub show in the ’90’s, and is/was performed after the drum solo as a culmination or the finale  part of a 5-7 part show. I  can still remember the first time this was played for me, of course no rehearsal…not that you can really rehearse, well you can but it defeats the purpose!

Finding a movement ritual, done with intention and mindfulness, is a powerful tool and can give meaning to the mundane.

T

Of Contests and Competitions

 

bwcontestcontest

It’s all in the Music

DSC_0333Middle Eastern Dance aka Belly Dance..it’s all in the music!

I’ve often said to my students, unlike any other dance, our dance is intrinsically tied to the music. Learning music, theory and rhythms is a big part of a serious students journey.
Music facilitates our understanding of the movements. It’s that important. I’ve been very lucky to have had opportunities to work with amazing musicians for extended periods of time (like years) and that experience alone  expanded my understanding of the dance, comparable to the years of efforts spent in the dance studio.
This is why I like to offer live  music opportunities for students who choose the path of performance. For this reason, dances are made to explore music. There is a symbiotic relationship between the two.

Things to remember:

Even if you choreograph a dance to a recording, technical snafus occur. Including, but not limited to:
The DJ plays the wrong song
The electricity goes out
Poor sound system and it’s not loud enough or the applause from your audience is drowning out the music and all your well laid plans.
Your DJ is on the other side of a banquet room and you won’t be able to catch his eye and or he won’t understand your pantomime to go to the next song. If you are dancing right next to him, and he doesn’t understand your language.
Electricity goes out….you have zills right? Can you hum it? A beautiful moment happened a couple of years ago in Acapulco at a dance performance I was attending. The sound system was crap! It was interrupting almost every single dancer and group, some were so frustrated they left the stage, others kept dancing in hopes they could catch the musical cues when the music returned. The organizer of the event and her large dance ensemble  closed the set and of course the music tanked. The audience started humming the piece and the dancers finished the piece, it was magic!

Live music snafus:

Music or songs are different versions than you know
The band played it differently than they did the last time
The arrangement is all wrong
The band doesn’t know it or doesn’t know the finale.
It’s Ramadan and the keyboard player doesn’t want to play for the dancer

No matter how many recordings of the song or music you listen to, or even if you have had the band play it for you dozens of times before, there is no guarantee that it will be played the same way again.

While I generally prefer live music, I’ve been dancing long enough to have had a few musical nightmares.  Really, kind of like, me wondering to myself….what possessed you to become a dancer???

I was working at a nightclub that my regular band and singer had brought me to work with them. It was kind of an interim place until we could get our show back into a club that seated more than 100 people. (The club where we had worked together for 10 years had closed.)
During the transition…I stayed at the old club, while the band went to the new one. Of course all the parties involved knew what we were doing, so there were efforts all around to keep both owners and audiences  happy.
Two weeks went by with fill in musicians I had worked with before. Fun shows, happy audiences and owners. Third week, not so much. In place of the four piece band was a keyboard player with an additional drum pad machine. Nowadays,  the keyboards have drum machines built into them. They are like computers and can be programmed…or so I’m told. This musician had a classical opening piece or majenci, taxim/takseem and a saidi piece programmed in. I was pretty impressed how well the music was going and we were all having a great time. Then he started playing Salamet Om Hassam….and kept playing it. I mean he kept playing the opening verses, over and over again. Over and over again. over and over again.

Over to another nightclub, different night, different keyboard player, who I have worked with before.  Beautiful opening music. I love dancing to the richness of the classical majenci…it’s really for me a show case of art, not just entertainment.  Well, I guess it also is for this particular keyboard player. In the takseem/taxim section of the opening piece, he elaborated. I mean taxim means solo and improvise literally, so I get that, but these are classics!  I didn’t know Korgs could play a jazz solo….His solo went on long enough for the drummer to leave the stage and go to the bathroom.Thankfully, there was a wedding party, where I could occupy myself with pictures and audience interaction.

Another night, different keyboard player. It’s Ramadan, no keyboard player for the show.

Another night club, different band, different state, keyboard player doesn’t show up.

All of these things can and more will happen. Rule number #1, don’t panic. Rule #2, keep dancing, or not!

 

 

 

 

Missionary, Mercenary and Bedouin

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BEDOON 003 WADI RUM 037 BEDOON 004

Jordan Desert

Travel to foreign and exotic places opens my eyes and reminds me of other realities unlike my own.

1/Cold nights in a Bedouin tent, smoking and drinking with the natives.

2/Two Mikes
On the left our bodyguard, whose presence allowed us entry into the most unlikely places, safely. Mike on the right was a minister in a small mid-western town, sent on  a missionary journey by his family and congregation with no return date projected. He had never tasted alcohol and couldn’t wrap his head around two  American women in Jordan, he had to sit when we told him we were bellydancers.

3/No name mercenary. Translated  by our bodyguard about the “arms deal” being made around the camp fire. We gladly shared our alcohol, but kept our charms hidden.

Photos purposely kept raw and untouched…

Note to self, this was almost a year to the day that we had departed from Egypt on the eve of Arab Spring, highlights of news were reports of Mubarak’s trial.

 

So you are Invited to a Wedding.

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I’ve performed in literally hundreds of weddings  with audiences who are Egyptian, Jordanian, Palestinian, Syrian, Persian or Lebanese. There have been some interesting combinations of ethnicitys marrying each other also. An Egyptian marrying outside of their culture to a Samoan. A Jewish Egyptian marrying a Syrian Druze. Needless to say, I know my music and I know how to “do” a wedding!
A musician I’ve worked with (Arab) was getting married and was inviting all of his (older: age and length of acquaintance)  friends as guests and his newer friends to work. So many of the musicians and several other professional dancers I’ve worked with were in the wedding party and not performing. Of course I was excited to attend an evening of great music and dance.  Well, it didn’t turn out as I expected…don’t get me wrong, it was a great party. I’d envisioned a 10 piece orchestra, no, just a 3 piece.  Thankfully they were the most seasoned of the pros there and the rest were in the wedding party and guests. So despite not being a 10 piece orchestra, the music was rocking!

So speaking about the music, the dancers.  The first dancer slayed me, or her choice of music did, literally. She was a lovely dancer…but her music was better suited to drilling in a dance studio than entertaining a discriminating audience. So irritating and inappropriate that it distracted me from any enjoyment of her show.

Enter second dancer, who was also lovely. Her musical choices were dynamic and appropriate for a wedding show. Her musical choice connected every member in the audience to her dance and the cultural traditions in which she was representing.

Some ideas in what not to use in a show for a wedding.

Tarab...enjoying the music as a guest.

Tarab…enjoying the music as a guest.

 Drum drills….anything that repeats for convenience sake, like perfect for the classroom is not what you want to use.
A remix…Even if it’s to a well known song…just don’t.

A 9 minute majenci or opening piece. I love the elaborateness of this format, works great in a nightclub where you have a 40 minute show. When was the last time you saw a 40 minute show? My point, your show is only a very small part of an elaborate evening planned on showcasing the bride and groom.  Save that 9 minute opening for when all eyes are on you and you are a big part of the evening’s entertainment.

Some ideas in what to use..

A short dynamic majenci, yes there are many of them available.  Some are classics or remakes of classics. Using music with multiple rhythms makes your job as a dancer so much easier. Double points if it has a strong beledy or baladi beat, every one can connect to this rhythm, even if they don’t know the name of it.
A classic folkloric song, there are a lot of choices depending on what ethnicity of your audience.  Chances are the parents are involved in the payment of your performance, and if you can connect with the elders in your audience with your musical choice (as well as the women and children)…you’ve got a winning combo.

These are a just a couple of ideas.  Teachers, don’t withhold valuable info from your students, it makes us all look bad in the audience’s eye. Students, if you don’t know, ask.

Catholic Nigerian in Tel Aviv 2011

Catholic Nigerian in Tel AvivCatholic Nigerian in Tel Aviv Airport 2011

This face warmed me and warned me.

Peace On the Nile

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Nile January,11,2011Peace on Da Nile

Just days before the revolution, cool, crisp, white bright day in Cairo.