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Professional Oriental Dance Set Primer by Shems this article is still in the works, but I thought useful at this stage... Oriental Entrance - Raqs Sharqi The very first piece in a professional Oriental dancer's routine, this piece is meant to introduce the dancer to her audience, allow her to greet them and demonstrate the range of her skill and professionalism. This is the true Raqs Sharqi. Origin:
Many believe the dance form was called Raqs Sharqi to differentiate it from Western or foreign dances, and to some extent this may be true, but it was more importantly differentiating it from Raqs Baladi (Dance of the Country) which had more ordinary everyday associations. The baladi dancing in Egypt at this time was usually done in relatively small spaces with movements focused on the hips and torso and with a relaxed quality to the arms, as opposed to traveling extensively throughout space and created extended body lines.
Distinctive traits that were added to the dance at this time were a glitzy new costume, long elegant lines, a lifted center of gravity, a more elaborate use of space and staging, traveling steps and other elements from Lebanese folkloric dance and elements from ballet being incorporated. Many of Badia Masabni's house dancers went on to become famous Egyptian movie stars, for example Samia Gamal, Tahia Karioka and Naima Akef. Even the famous Lebanese dancer Nadia Gamal started her early career at the Casino Opera. At that time Cairo was the Hollywood of the Middle East and the movies of the dance stars at this time were widely distributed influencing dancers throughout the Middle East and over time even the dancers of America and beyond. I believe these developments became a pivotal influence for how Oriental Dance advanced worldwide from this time forward. Costume:
The classic, traditional costume is sparkly and elegant, usually two piece with the torso exposed or just covered with netting, heavily embellished with sequins, coins, beads and crystals, the skirt usually full and flowing or heavily embellished with decoration or fringe. The dancer often enters with a veil or cape that is typically shed relatively early on in her routine.There are many appropriate variations in costuming depending on the individual dancer's desire to set themselves apart and do something special. You will see a wide array of cuts for skirts, from full, straight, mermaid, even mini as well as embellished dresses or dress like costumes. Many believe that this style of costume was heavily influenced from Europeon cabarets and Hollywood's fantasy depictions of Oriental women. Several years ago, I'm not sure of the exact date, but sometime in mid 20th century, exposing a bare navel, along with floorwork and a few other select movements considered vulgar became illegal in Egypt. These rules were set in place as modesty restrictions. This is why many of the costumes you see in Egypt use netting, heavy decoration, or other material to cover the torso. Some of the more famous dancers working currently in Egypt, like Dina, have been able to ignore that law because of their status. Music & Dance:
Oriental entrances usually begin with a dramatic introduction, some of them quite extended, meant to build anticipation and set the tone for the dancer's grand entrance. During this part of the music the dancers will be preparing herself backstage to go on. Different artists do make exceptions to this rule instead choosing to use this time to add drama to their arrival (ex. Fifi Abdo being lowered onto the stage in a basket by a crane.) There is a couple of bars of rhythm to set the beat and cue the dancer, then the full orchestra plays and the dancer appears in her full glory. Rhythms used for the dancer's initial entrance are usually 2 beat, up beat rhythms like malfuf or a fast ayyub, this is not a strict rule however, you will also find slower rhythms used creating a different sense of drama. Appropriate movements include gliding steps, arabesques, spins and various traveling steps. The dancer is typically dancing on her toes, or en relevé. The very beginning of a piece might go through several rhythm changes, the maqsum rhythm is often heard among other 2, 4 and 8 count rhythms. Following the dancer's grand entrance are many changes in dynamic energy within the same piece of music. A nod to various folkloric dances and rituals can be included, such as Khaliji, Saidi and Baladi which make use of appropriate rhythms. They are indicated in the dancing as well, some folkloric steps included with a little added Oriental dance polish. Many famous dancers like to include folkloric elements in their Oriental routine to show the range of their knowledge and ability as well as to cater to the different clients that would come to see their shows. Egypt was a big tourist destination for people from the Arabian Gulf for a very long time which is why you will see so many Khaliji segments in Oriental routines. To be able to do an Oriental dance with this kind of dynamic, a dancer must study the related folkloric forms, so she can do an interpretation of these forms justice within her Oriental routine. There are often slow solo improvisational portions highlighting a particular instrument (taqsim) and sometimes a short drum solo incorporated right into the music. Depending on the arrangement, an Oriental Entrance piece can last between 4 and 25 minutes. When the peice is quite long it can be her entire dance set in one song. Most contemporary Oriental dancers keep the first piece under 10 minutes. To dance an Oriental Entrance piece well, the dancer must have grace, fluidity, clean and dynamic technical skill, stage presence and an understanding of a wide variety of Middle Eastern rhythms and folkloric forms. The style in which the music is played, what piece is chosen, how much of the piece is played and how the dancer enters varies from region to region. For example, in Egypt the dancer usually enters with a veil floating delicately behind her that she will quickly discard. In Vintage Oriental dance routines done in the USA the dancer will enter with her veil wrapped around her body and she will typically play finger cymbals as she enters. She wont unwrap the veil until the second piece in her routine where she dances with it for a whole song. Egyptians will sometimes use finger cymbals in the entrance, but it has been popular not to, or to bring them out later in the routine, for the last several years. I've never seen an Egyptian use a veil for an entire piece anywhere in their routine unless it was attached to their costume. Despite the distinctions between styles, you will also find much shared. For example, Aziza, an entrance piece written for a film starring the famous Egyptian dancer Naima Akef became a very popular entrance piece in Turkey and you can find it on many Turkish Oriental dance albums and performed by Turkish dancers.
A few examples of classic Oriental Entrance Pieces: Aziza To find several good recommendations for must know Oriental Entrance pieces, see Yasmin's List Shems's Classic Egyptian Oriental Entrance YouTube Playlist Shems's Classic Turkish Oriental Entrance YouTube Playlist Shems's Oriental Entrances From Around the World YouTube Playlist Vintage Oriental dancers (also called American Cabaret style dancers) have their own variation on the classic Oriental entrance piece. They enter wrapped in their veils and playing finger cymbals. They usually wear their veils for the whole entrance to unwrap later in their routines. Typically they will dance to a fairly upbeat number first.
Taksim
A taksim is an improvisation of a solo instrument. The instrument plays either completely alone, with a percussionist (often playing a slow rhythm like a chiftitelli or wahda kebir but it can be any rhythm) or with a drone, meaning the others instruments sustain one note as an underlay for the highlighted solo. The dancer interprets that instrument, emotionally and physically through her movement. Often the taksim is part of another piece, like an Oriental entrance or any piece that the musicians decide to include improvisational portions in. Sometimes it stands alone between pieces as a very moving and beautiful portion of a performance. A common structure for the taksim: The instrument will begin in the same musical maqam as the piece, then modulate into different maqams and return to the original maqam which will cue a return to the original piece. One common mistake for dancers in the taksim is to over dance. Trying to physically relate every musical detail isn't as important as bringing out the feeling of the taksim. The dancer chooses to highlight important details. The other common mistake is to be too flat. It is important for the dancer to extend the emotion of the music with her own emotional openness and stretch the meaning by using a large range of dynamics.
The word Baladi (you may also see it spelled balady, beledi, beledy, etc.) can mean several things:
Baladi dancing is the traditional everyday dance of the Egyptian people, not dressed up for stage. The Baladi dancer would wear whatever happens to be in fashion, maybe tying a scarf around her hips for an impromptu performance. Her posture and arms would be relaxed but still pretty and she wouldn't travel around very much. Her center of gravity would be low and very earthy. She would be flat footed much of the time. Baladi can be urban or country, but is often used in reference to the Cairo working class's style of dance. Baladi music uses traditional instruments like the rebaba, nay and tabla as well as more western instruments like the accordion, organ and violin. There can be a singer as well. There are a lot of fun baladi songs. There is also a very popular musical construct used for baladi dancing called the baladi taksim. Also called a baladi progression or asharah baladi, the baladi taksim begins with a slow taksim, often the highlighted instrument is the accordion, and then typically follows a diologue between the solo instrument and the tabla. The full band comes in, slow and steady at first and the band works its way gradually into a full blown frenzy. Sometimes there is a drum solo attached to it. Hossam Ramzy claims in his article "Baladi " that this construct was used at Egyptian celebrations to get the reluctant dancers in the family to show their full range of skills. The idea is for the dancer to start understated and then build the energy gradually until she is rocking it in full gear.
This is a very popular part of a professional Oriental dancer's set when she is dancing for Arabic audiences. It usually comes in the middle of her set, either following her Oriental or right before her tabla solo. When performed within an Oriental set it is appropriate to perform in a two piece bedlah. Baladi dancing can sometimes include a cane or finger cymbals. It may also be part of a separate folkloric tableau. It may also be performed in a man's galabia with a hip scarf tied around the hips, like Fifi Abdo wears in this video clip. Although all Egyptian dancers that I know of include baladi songs or baladi taksims in their full shows, the baladi style reached the height of its popularity after King Faruk was ousted from power in 1952 and a nationalist movement took the forefront in Egypt in the 1960s,70s and into the 80s. As Egyptians first got the vote, the common man, or salt of the earth, rose in popularity, as did the baladi and shaabi music and dance styles. Fifi Abdo was particularly known as a bint al balad, or daughter of the country, and is probably most referenced when it comes to the baladi style. You will often see her in the man's style galabia for her baladi set. She also sometimes plays finger cymbals, smokes shisha and uses a cane. Souhair Zaki, also very popular during that era, was known for her baladi taksims and inserted them in many of her performances in film and live shows. She also incorporated finger cymbals often in her baladi taksims, occassionally cane and she would perform them both in bedlah and in baladi dresses. To learn more about the baladi taksim, I highly recommend Ranya Renee's instructional dvd on the subject: The Baladi with Ranya Renée. She goes into detail about the different styles of baladi improvisation you will find in Egypt. With skilled musicians, she explains and demonstrates the woman's alwadi style baladi taksim and the men's tet style baladi taksim, breaking each down into descriptive sections for hearing, understanding and interpretting the music. Shems's Egyptian Baladi Taksim YouTube Playlist
The cane dance, also called "raqs al assaya", dance of the stick/cane, is a folkloric dance very popular in an Arabic Oriental dancer's set. Usually somewhere in the middle or towards the end of a performance, a cane dance will often include audience participation. There are different types of cane dances. Many cultures in the Middle East traditionally used sticks for walking, herding and defense. Many of these same cultures have dance traditions using sticks. One of the best known is the Saidi men's martial art called the tahtib. Using a long staff men posture and show off their skill to intimidate their opponent as they fight. In tahtib the staff is used as a weapon and points are given for hitting sensitive spots. This martial art was theatricalized and made into a dance for stage by the famous Egyptian choreographer Mahmoud Reda. Women don't traditionally do tahtib, so in the Reda troupe presentation the women did little more than just playfully borrow the man's assaya and dance with it for just a few moments during the performance. Saidi women's dancing is very grounded, but proud, you do not need an assaya to dance in the Saidi style.
There are also some movements referencing the trained dancing horses that Saidi culture is famous for. Sometimes you might even find some dancers dressed in a horse costume performing in conjuction with other dancers in a Saidi tableau. The Said refers to the a region in Upper Egypt (Southern Egypt). The women traditionally wear a galabeya (long dress) and head scarves. The men also wear galebeyas, pants and robes, hats and turbans. Traditional Saidi music is very distinctive. It often incorporates the mizmar, rebaba, nay, tabla, tabl baladi (aka tavul) and other traditional instruments. Rhythms used include Saidi and Fallahi. A lot of modern popular Arabic music uses a fast Saidi rhythm as a backbeat. So if you are looking for something more modern that is suitable for a Saidi assaya dance, I would look beyond just the rhythm alone and pay attention to the sound of the instrumentation, like the keyboard imitating the mizmar for example. Many Oriental dancers have taken the use of the assaya in a Saidi tableau quite far, combining dance movements from the Saidi folkloric women's dancing and skillfully manipulating an assaya in imitation of the men's style tahtib. The Oriental dancer often uses a crooked cane or smaller sized stick than those used by the men for Tahtib. She can also use two or more assayat if she has the skill. The dance is often playful and flirtatious, mimicking the posturing of the men and having some fun with it.
If done in the middle of an Oriental set, it is okay to wear a normal Oriental dance bedlah. Some dancers like to wrap their veil or skirt to make it appear more galabeya like. In Egypt they often do a costume change into a folkloric costume for one portion of their show, sometimes in the women's style, and also sometimes in the men's style (ex. Fifi Abdo) often complete with a little hat, turban or tarboush. If the dancer chooses a galabeya they wear a scarf at the hips to accentuate the movement. They might also wear a specially designed costume with glitz as well as with Saidi references, such as Assuit fabric, a crescent moon necklace or belly drape, evil eye designs, a scarf on the head sometimes with flowers or pom poms. There are many possible variations including 2 piece costumes, vests and pants.
Baladi dancing with a cane or assaya does not necessarily always represent a Saidi tradition. The baladi dancer might incorporate a cane or stick into her performance just for fun. She would use it in whatever baladi song suits her, like a baladi taksim or another song, and in whatever manner she chooses; sometimes showing off her skill with the cane, sometimes just being flirty and fun. She might put on a man's tarbush or she might tie a scarf around her hips. The baladi dancer would wear a galabeya or whatever clothing happens to be in fashion at the time and she would dance in the baladi style. There is a lot of similarity and overlap in the movements to those directly referencing more of a Saidi tradition, but I find the dfferent context and interpretation enough to be notable. The Lebanese version of this dance is derived more from the Lebanese Dabkeh. It incorporates elements from Dabkeh dancing and has a little bit of a showoff quality to it. It is performed to music appropriate for Dabkeh as opposed to Saidi or Baladi music. Often the dancer will use a very slender crooked bamboo cane that she can spin really quickly or a crooked cane similar to the one used by Egyptians. The dancer often has a tabl balady (tavul) player follow her around and sometimes several more musicians as well. Since one of the most common rhythms in Dabkeh, Nawari, is very similar to Saidi, you will find that some bands when playing an assaya number for the dancer will mix some Nawari & Saidi songs and play them interchangably. One example of this is the famous song "Shashkin" aka "Ya Ein Mouletain", which is traditionally a Nawari rhythm, but is often played in a medly with songs like "Ala Nar" which is traditionally played with a Saidi rhythm. All three styles, Saidi, Baladi and Lebanese will use similar movement patterns, but they each have their own unique elements as well. The ghawazee in Egypt also dance with canes in their own unique way, and you may come across other men's or women's dances done with sticks or staffs in the Middle East. As an Oriental dancer, it is important to at least be familiar with Saidi, Baladi and Lebanese approaches to dancing with an assaya. Shems's Tahtib YouTube Playlist Shems's Egyptian Women's Saidi & Raqs El Assaya Playlist Shems's Egyptian Baladi Assaya Playlist Shems's Lebanese Assaya Playlist
Shems's Veil Dance YouTube Playlist
American dancers have taken the idea of dancing with a sword and created their own romantic interpretations. The mystery and power surrounding the sword make it a very dramatic element of a dancer's performance, where she can show off her balancing skills. A sword dance typically comes somewhere in the middle of a dancer's set. The sword should be a balanced sword. There are several different types, some that are more decorative and some that are replicas of real swords. If it is the latter the blade should be dulled for safety. Regardless of the actual danger presented by a dancer's sword, the sword should be respected as a weapon. The dancer should avoid wrapping her fingers around what would be the sharp edge of her weapon, even if hers isn't actually sharp, to avoid ruining the illusion. A good sword performance utilizes the shape of the sword and how it can elegantly frame the body. Rushing to plop the sword on one's head should be avoided. The sword can be balanced on many points, the hand, the shoulder, the thigh the hip, the chest, even on a finger tip, as well as on the head. Floor work becomes very dramatic when the dancer is balancing a sword. Dancing with a sword also should be approached with a great deal of care. The dancer should avoid swinging her sword unless she can be absolutely certain that it wont break from the hilt (I have seen swords do this before) and she has enough space. Also be very aware of the space around you and any people that might not respect that space (like the wait staff or small children). Working the drama intrinsic in a skilled dance with a weapon is highly recommended. Since dancing with a sword in an Oriental set for the most part is the product American creativity, the music choice can be varied. I have seen very slow and dramatic dances using theatrical sounding music as well as peppy upbeat music with a sense of fun. I have also seen dances that draw heavily on Khaliji style dancing, where there is a traditional men's sword dance, using Khaliji dance and music mixed with balancing tricks. There are other dances traditional to the Middle East where balancing plays an important component. Balancing things on the head is common in the Middle East. It is the traditional way to carry heavy objects. In general the ability to balance alone, although impressive to Americans does very little to impress Arabs, Egyptians in particular, but being able to balance something and dance well at the same time does. You can incorporate balancing most anything in your routine that pleases you, even a customer's drink. Just be sure you have the skill to dance and balance without dropping whatever it is. Although dropping whatever you are balancing can happen sometimes, it reveals a lack of skill and care if it happens often. Shems's Sword Dance YouTube Playlist Shems's Balancing Dances YouTube Playlist
Floor work is often used to demonstrate difficult balancing skills with a prop like a sword or candelabrum or skills like isolating shimmies and belly rolls. In Egypt you will still see some floor work performed, but usually either in private (or out of the country), so as not to be caught by the morals police or as part of a balancing dance, like shamadan, where it is disguised as a way of showing off balancing skills. Lately I've been seeing more Egyptians doing floor work, but as far as I know it is still officially illegal in Egypt. Floor work comes in different varieties and expresses itself in different ways. It can come as part of a piece, or it can be an entire piece. It can be slow and romantic or it can be fun and baladi. When incorporated into a performance it can add another level of variety and excitement. Things to watch out for are how clean the floor is, you don't want to ruin your costumes, and also how your costume falls as you dance. Some movements done in some costumes can end up revealing more than what was originally intended. It is a good idea to practice in costume sometimes and have a friend check to make sure you are safe. This is a good idea in general, also keep in mind if you will be on a raised stage or not. Shems's Floorwork YouTube Playlist
Al Jeel refers to the more modern polished sounding pop music style that came out of Egypt starting in the 80s with artists like Amr Diab. Al Jeel and a lot of Lebanese and Turkish pop music are appropriate for all kinds of audiences. Obviously if you are dancing for Arabs, you will want to choose Arabic artists and if for Turks, Turkish artists and so on. With American audiences you have a lot of flexibility. Shaabi refers to a more gritty urban popular music coming out of Cairo. Shaabi music is fun but can sometimes be political and can contain sexual references and double entendres. It is considered low class music by some Arabs and isn't appropriate for all audiences. However it is a huge hit with the right crowd. There is also shaabi music from Algeria and Morocco that is different from Egyptian shaabi and rai music comes from that same region. It can also be a hit with the right crowd, but like Egyptian shaabi you need to be careful what you dance to and you need to understand the song's meaning. Knowing your audience is really helpful. Obviously, it is important to get a translation of the lyrics so you know what you are dancing to, if you can get a native to explain the meaning to you that would be even better. There are a lot of places online these days with translations available. You want to pick songs that are either recent hits or all around popular classics. There are Arabic pop compilations put out every year with the latest hits, like Sunshine Arabia, Now that's Arabia. There are also some great techno or modern remixes of classic Oriental music out there. It is a good idea to get familiar with some of the top vocal artists in the pop world. Shems's Arabic Pop Music YouTube Playlist Shems's Turkish Pop Music YouTube Playlist
Om Koulthum in particular is known for some very soulful music. The dancer needs to know what the lyrics mean and allow her the vulnerability to relate those emotions through her dancing. This is very difficult because it requires both skill in the dancing a good understanding of the music and the ability to dig deep emotionally as a performer. It is a common mistake for a dancer to dance over a classic piece, acting happy, flirty or sexy when the lyrics are a very soulful yearning for a lost lover or love for one's country or any mismatch of emotions to meaning. Some think this is where you find out if a dancer really knows how to dance or not, if she can dance to Om Koulthum. Dancers rarely dance to the original recordings of these classics. The originals are often quite long; some pieces lasting around 45 minutes, also the original recordings aren't always the highest quality. Dancers will usually dance to arrangements of these pieces made specifically for dancers, sometimes with a vocalist, sometimes without. This would go somewhere in the middle of a dancer's set. I tend to like it early on if it's soulful, like right after the Oriental Entrance. If it is a more upbeat piece I might put it slightly later in the show, play finger cymbals and get people up to dance. Audience Participation There is just getting folks up to dance plain and simple. The dancer can choose to get a group of women up, then a group of men and have them each follow her like a chorus line, she can get a couple up to dance or just an individual. Some audience members take instruction better than others. It is the dancer's responsibility to maintain control of her show. She can also just go out into the audience, joke with people, if the environment is right and the furniture sturdy, she can get up to dance on a chair or a table. She can get people dancing in their seats. There is a lot that can be done, keeping it in good fun. Shems's Audience Interaction YouTube Playlist
Shems's Drum Solos YouTube Playlist
In an Oriental dance routine in Turkish or Vintage American Oriental, the same steps and music is used, but the dancer will perform solo. She will often play finger cymbals and might get people up to dance with her. It is often the last piece before the finale. Shems's Karsilama YouTube Playlist
Incorporating Culture and Folklore in Your Routine Khaliji Thobe Nashal Dance - Arabian Gulf Shems's Khaliji YouTube Playlist Hagallah - Libyan, also found in Egypt The Hagallah is also often performed at weddings as a celebratory dance. The Hagallah spread from Libya to Egypt via Libyan worker migration. Being mostly Libyan immigrants, people in the Mersa Matruh region of Egypt often still dress the way the Libyans did. One possible translation of the word Haggal means bird but a bird that flies across the Sinai Dessert and when it steps on the sand, it does a funny walk because the sand is hot. Some say that this is the accented shimmy walk imitated by Hagallah dancers. Another possible translation from Arabic is "to hop, skip, leap, or gambol." The Hagallah is traditionally performed without any music except the clapping and chanting of the men of the village. The line of men is called "Kefaffin" (clappers). Mahmoud Reda, a choreographer famous for bringing folkloric dances to the stage had music composed for his version of this dance. The costume used in folkloric performance has a skirt around the hips to exaggerate the movement of the distinctive twisting Hagallah shimmy walk. For an Orientalized version the costume is adapted further, but having something to exaggerate hip movement is important. Shems's Hagallah YouTube Playlist Meleya Leff - Alexandria or Old Cairo, Egypt Shems's Meleya Leff YouTube Playlist Zeffa and Raqs Al Shamadan- Egypt In homage to the original zeffa a similar procession can be used to lead a bride and groom around a reception hall. The zeffa is often followed by an Oriental performance with shamadan (called Raqs Al Shamadan - Dance of the Candelabrum) for the bride and groom and photos. The processional music in Egypt can be different songs, but usually is the same rhythm called zeffa. A miniature zeffa and shamadan performance can be included in an Oriental dancer's set. She can choose a young couple from the audience to play the part of bride and groom and lead them about before her performance. In raqs al shamadan, there is intricate hip work, shimmies and floor work to show of the dancer's skill, if she can do the splits and do glute shimmies that's a bonus. There was an Egyptian performer named Nadia Hamdi who was particularly famous for her raqs al shamadan. Shems's Zeffa and Shamadan YouTube Playlist Ghawazee Shems's Ghawazee YouTube Playlist
Zar Since this ritual has religious significance, great care should be taken when selecting music and deciding how to present this. If you are performing a theatrical version of the zaar, you will want to modify the steps appropriately and avoid going into trance. Actually going into a trance like state leaves the dancer very vulnerable and unsafe. In the true zar the individual going into trance always has a guide to protect and watch out for her. You will sometimes get a reference to zar in an Oriental piece or drum solo. Warda's Hobek Salehny is one good example. In this situation doing a couple of steps to reference the zar and then return to dancing in a more Oriental style is appropriate. It is always wise to let the music tell you what to do. There are some wonderful articles out there for learning more about the zar: Nubian - Egypt, Sudan Shems's Nubian Dance YouTube Playlist Tanoura Tunisian Dabkeh - Palestine, Lebanon, Syria Dabkeh music uses the rhythm called Soudasi or the Dalouna beat, which has many variations. For the Oriental dancer, a Dabkeh can be worked in as a small Orientalized solo, or can be used in Lebanese cane dances. Shems's Lebanese Dabkeh YouTube Playlist Shems's Palestinian Dabkeh YouTube Playlist Turkish Folkloric Line Dances Shems's Turkish Folk and Line Dances YouTube Playlist Turkish Rom |
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