BELLY DANCING

BELLY DANCE
RAKS SHARKI - RACKS AL SHARK

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 INTRODUCTION
This much-discussed oriental dance allows the dancer to develop all her sensuality,
elegance and sensitivity, which, together with her creative spirit in the various styles,

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unites poetry, music and dance. Although there are many fantasies about this dance,
reality tells us that its origin dates back to Pharaonic Egypt and that it had a sacred
character closely related to motherhood. The language of the body, the hand gestures,
the looks, the hip bumps are what most attract the attention of the viewer. Performing
the art of Arabic dance is extremely
Beneficial physically and spiritually, it allows the body to release tension, especially in
the hip and thigh area. The characteristics of this dance cause our thighs, calves and
arms to become stylized and of course the abdomen and waist, the protagonists of this
particular dance, are molded in its constant movement, outlining that special shape that
the Arab dancers have in which it is activity is permanent. No matter your age or body
type, the subtle music and costumes awaken that sensuality that makes women feel
safe. Dance was born with the world, it was a form of communication and it is the
expression of the people; dance is passion, dance is love, dance is life...

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 On the nights of the full moon, when the valleys of the sky are filled with brilliance, the
sounds of a derbake, a lute, a zither, a daf and a flute flow from an inexhaustible source
and... unleashing dreams... the Holy fire... Shakti dances to ascend to the arms of
Shiba*...Shakti returns spinning, spinning through the veils of time, to the golden summit
where her husband awaits her... and then a magical flower with a thousand petals lights up
in a circle of unlimited light.

* Shiba: in Brahmanism and Hinduism, he is the third member of the trimurti, both creator
and destroyer. God has become one again...and all creation celebrates the sacred festival.

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God has become one again...and all creation celebrates the sacred festival.

GENERALITIES:

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 ARABIC DANCE

Oriental Dance is a sensual and suggestive dance, the ritual and the dance itself is based on
undulating movements of the belly, hip movements and swaying of the waist, the part of the body
most directly connected to fertility and practically the axis of the body. .

It is one of the oldest in the world and its origins are as uncertain as they are mysterious. Its most
accepted origin is in ancient Egypt.

Initially it was a ritual that only men performed for healing purposes. They were groups of six men
who, after performing the "Dance of the hip and belly", entered into a trance and the gods gave
them healing powers that, through the laying on of hands, allowed them to heal the spirit, soul
and body. body.

Later, women joined this ritual because these movements favored them for a better birth. In
addition, it was believed that the newborn achieved a happy birth.

This art later became a popular dance in the regions of Egypt and Turkey, and soon spread to the
Arab countries that made it known.

In Arab countries this dance is known as Raks Sharki or Racks-al-shark which literally means
Oriental Dance. The name Belly Dance began to be used in the 19th century by Europeans who
traveled to exotic countries in search of new cultures, customs and landscapes. These travelers
coined this term surprised by the belly and hip movements that did not exist in European dances.

We have to distinguish between Raks Sharki (Oriental Dance) and Raks Baladi (People's Dance).

The raks báladi is a more basic dance, practically without movements and with predominant hip
movements.

The raks sharki is more refined and rich. It includes movements from Egyptian folklore, classical
dance and contemporary dance, with large movements, turns and movements for all parts of the
body, although the hip movements are also the most important.

In some ancient peoples it was thought that human fertility was directly related to the land.
Women, who were the ones who created new lives, were attributed magical powers. For example:

In Central and Mediterranean Anatolya (Turkey), thousands of years ago, women had ritual
dances in honor of these magical powers (ceremonies related to fertility). Men were excluded from
these rites.

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In ancient Greece and Rome, different fertility dances were performed based on the rotation of the
hips and belly. Some of them were performed in honor of the goddesses. Many of these divinities
came from the east, particularly Syria and Türkiye. In Cyprus, birthplace of Aphrodite, the Greek
goddess of love and fertility, women performed erotic ritual dances accompanied by singing and
percussion through which they put themselves in a trance. This allowed them to come into contact
with the goddess and for her to pass her power on to them.

Likewise, these or similar rites took place in Mesopotamia, Phoenicia, Egypt, Arabia and India.

In these ceremonies involving large numbers of women. In them they danced, sang and even in
some the women offered themselves to the men in honor of the goddess. The purpose of these
ceremonies was to bring the power of the goddess to the earth and promote its fertility.

During the s. IV D. c. Christianity and Islam came to dominate the Middle East. Although they
took certain pagan festivals and rites and appropriated them, adapting them to their new religion,
they also destroyed rituals with worship of goddesses and tried to eliminate female dances related
to sexuality and fertility.

Christianity prohibited dance for two reasons:

1) For being considered pagan.

2) Because the greatest goddess was evoked.

Christianity established the male God who was later a figure that was monopolized and created a
patriarchal society. For this reason, the Captos (Christians from Egypt) perpetuated this dance
that was performed in a hidden way. The dance was then performed by slave women, who were in
charge of popularizing it.

Later, at the beginning of the Middle Ages, the arrival of Islam once again prohibited it until it
disappeared. It appears again at the end of the 18th century in small circles of slaves held in the
palaces of the old medieval Caliphates.

Until the 1930s, dancers had performed primarily in people's homes or cafes. That year, in Cairo,
a Lebanese woman named Badia Mansabni opened a nightclub called Casino Badia. This room
became very popular. It had a diverse program that was based in the East and featured European
dancers, singers, musicians, comedians and acts.

During this time, the two-piece suit with rhinestones and fringes, which was inspired by American
movies, became fashionable.

In those years, a lot of films were produced in Egypt and it was common to include a dance scene
or have a dancer as the protagonist. Many talent scouts went to Casino Badia looking for dancers
for these scenes. The dancers and actresses were very
successful
among the public.

Currently, in most Arab countries, Oriental Dance is an essential part of the culture and in addition
to having developed a lot in recent times in countries like Lebanon and Turkey, it has also done so
in countries like France, the United States, Brazil and Germany, due to Arab emigration. This is
how it has spread, thus being perpetuated.

Since ancient times, Belly Dance has expressed the Sacred Mysteries of Love and Life. After
having survived against the passing of cultures and mentalities, belly dancing continues to be,
today as in the past, an ideal path to promote unity between body and spirit and to experience
vitality and joy of life.

COUNTRIES OF ORIGIN OF BELLY DANCE

Belly Dance evolved in many important places in the Middle East. Some

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Countries, like Egypt, are large and have a variety of provincial styles. Others, smaller ones like
Lebanon, are more culturally concentrated.

Egypt: Africa and Sinai Peninsula. The southern Egyptian part, near Sudan and Nubia, is called
"Upper Egypt." This area is famous for the Valley of the Kings and Queens and many ancient
temples. Includes the regions of Luxor, Aswan and El Said. To the north, "Lower Egypt" includes
Cairo (Right next to the famous pyramids of Giza), Fayoun and Alexandria. Other regions are: The
Sahara and the Western Desert. The fact that the part southernis called "Alto" and the
nortina is
call "Bass" can sound strange, but this is only dueto the flow of the river Nile: The
area of
Aswan is close to the source of the river, hence the term "Upper Nile." From the
ancient dance
pharaonic, passing for the earthly Baladi style of folklore urban of this century until the dance
Modern oriental, Egypt has a great history of dance. There are many provincial styles of folk
dances. In the genre of Belly Dance the Egyptians call it "Oriental Dance" or "Raqs Sharqi" (Dance
of the East). Today many modern characteristics have been merged, inspired by ballet and
Cabaret Dance.

The ancient land of Turkey: In Turkey, Istanbul and the coastal areas of Tarmaris are very
modern and influenced by Europe. It is in Selcuk, formerly known as Ephesus, south of Istanbul,
where Belly Dance developed about 2000 years ago. Folk dance is very popular in Türkiye,
especially Karsilama, with its special 9/8 rhythm. However, in modern Istanbul, almost anything
goes! The Turks call belly dancing "Rakkas". Turkey is a world leader in the production of Crotalos
or "zills", making them a popular feature of Turkish dance.

Morocco, Algeria and Tunisia : The cities on the coast of Morocco, like Casa Blanca, are very
cosmopolitan, while Marrakech is an eclectic mix of antiquity and modernity. Bere Bere tribal
traditions still exist in the Atlas Mountains. In nearby Spain the Andalusian style is a unique fusion
of Moroccan and Spanish styles. The traditional styles of dance near Algeria and Tunisia are very
earthy and many of them, like the Tuareg, are performed while kneeling. The dancers from the
borders of Algeria, such as the Ouled Nail tribe, used to adorn themselves greatly. This has
inspired many modern tribal styles in the West. Most of the dances of Maghreb (the northwestern
region of Africa that includes the Atlas Mountains and the coasts of Morocco, Algeria and Tunisia)
are folkloric although in the tourist parts of Tunisia Belly Dance is usually seen.

Iran (Persia): Previously known as Persia, Iranian dance is unique and, like its ancient poetry
and fine silk carpets, refined and delicate. Since ancient times, women's dance flourished in the
areas that are now Iran and on the edges of Iraq. Village dances include the “Rice Harvest” dance
and even the “Drunken Maiden” dance. Persian classical dance was very popular in the Iranian
Pre-Shah days (before 1979). Although public performances are now banned in Iran, Iranian Belly
Dance can be very modern and rhythmic.

Lebanon, Syria and Jordan: This group of countries, which formerly formed Sumeria and
Babylon, were prominent in the evolution of women's dance. Balbek (ancient Babylon), a site of
ancient goddess worship in Lebanon is an example. Lebanon, Syria and Jordan have rich folk
traditions, sometimes similar to each other, such as the "Dabke" group dance, of which all three
countries have a version. Their modern dance styles are very joyful, and in Lebanon especially
they present ultra-modern dance styles.

Arabian Gulf and Yemen : A giant strait of land, the Arabian Gulf has many different dance
styles. Khaleegee is the most important dance style in the Gulf and involves rapid movements of
the head and hair. The Zaafen is a popular folk group dance, usually danced by men and
sometimes by women in Yemen, southern Arabia. Belly dancing is enjoyed by many in the Gulf
areas, even in Saudi Arabia, where it is not performed in public. In these stricter countries it is
danced in homes. However, the cities of the United Arab Emirates are quite modern these days
and belly dancing is featured in several hotels.

FEATURES OF BELLY DANCE:

Belly dancing is a sensual and suggestive dance that is based on soft and undulating movements
where the entire body participates, although the greatest movement is located in the hips,
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abdominal muscles and pelvis.

The torso moves making undulations, drawing for example the camel; the shoulders draw waves;
the arms and hands are always placed in a harmonious position, creating images of birds, bulls, a
snake, a jug, the Lotus flower, etc.; the neck moves from side to side; the hips form straight
lines, "eights" and symbols of infinity; The legs remain bent but loose.

The exquisiteness of the movements, the beauty of the waves drawn with the body, the delicacy
of the rhythms and the magical sounds of the drum, lute, flute and accordion in belly dance, help
the woman to better connect with her interior and create an energy of joy and well-being, which
you can then transfer to your daily life.

BENEFITS:

Belly dance deeply connects women with their femininity, as the internal organs are stimulated
through specific movements of the pelvic, abdominal and breathing regions, thus helping to
discover the pleasure of being a woman. Some of the activities that can benefit from the practice
of oriental dance, among many others of a similar nature, are, in alphabetical order:

Increased power of concentration

Dance other types of dance

To fall asleep

Posture correction

Draw (by developing a non-verbal way of knowing)

Decreased symptoms of menstruation and menopause

Strengthening the muscles

It works as mental therapy, the physical manifestation creates psychological unlocking

Make love

Improvement of intestinal transit

Shapes the hips and waist

Lose weight

DANCE AS A WAY OF PRAISE THE GODS

Dance has a lot to do with religious beliefs; For example, there were dancers who had tattoos of

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the Gods, especially on their thighs, belly and wrists. like snakes, the crescent moon, etc.

Currently there are therapies where it is used as a healing method, for meditation, to invoke the
guardians and the gods in a beautiful way: dancing.

Sharp hip movements in some cultures were believed to cause earthquakes and storms. And there
were communities that considered the odalisques responsible for fertility in the harem.

BECAUSE IT IS A SACRED DANCE:

We say that the Arab dance was a sacred dance because it arose in Egypt inside the Egyptian
temples, of a ritual nature performed by priestesses who had to lead a pure and orderly life on all
levels. They danced and through their movements invoked divinity and then transmitted it, thus
they were channels of divinity.

They also offered their dance to the gods to appease their anger. At first, they danced naked,
since human nudity was considered sacred in those times. The Egyptians used these dances at
funerals and their "function" was to transport the soul of the deceased to the afterlife.

THE ORIGIN OF LIFE

The art of oriental dance has a complex, extensive and colorful history, in which religious cults,
birth rituals, social celebrations and endless legends about harems and odalisques intermingle. Its
origins date back to pre-monotheistic times, in which different cultures venerated the power to
give life through their fertility goddesses: Isis, Venus, Aphrodite, Astarte... These represented not
only the reproduction of the human being, but also of the entire nature.

The priestesses of the temples dedicated their lives to the cult of the Goddess, one of their main
tasks being to dance in her honor as part of the ritual and offering. In these dances the abdomen
plays a main role as it is the receptacle of the origin of life, the source of fertility. Later, this
ancient function is transformed into other secular functions, entertainment and even therapeutic
rituals.

Perhaps the most common image of Belly Dance refers us to harems, with dancers moving
rhythmically and sensually in front of the rajah on duty.

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 MUSIC, INSTRUMENTS AND RHYTHMS
ARABIC MUSIC

The tradition of this music has been preserved in all Arab regions for thousands of years. Although
it has undergone many changes over the centuries, it has maintained certain distinctive features.

Origins and influences:

The tradition of Arabic music developed in the courts of the Islamic dynasties from the 7th to the
13th century. It flourished during the Umayyad dynasty of Syria throughout the 7th and 8th
centuries. The best musicians were brought to Baghdad during the time of the Abbasids, when
Harun al-Rashid (766-809) ruled, who was a patron of the musical arts during the 8th century. All
the cities of the Muslim world, from Spain and North Africa to those of the Middle East, welcomed
numerous artists. These musicians were often composers, poets and performers at the same time.

Although the major writings on Arabic music appeared after the spread of Islam in the early 7th
century, the musical tradition had already begun under pre-Islamic influences. Before the
Muslim expansion, Arabic music had incorporated the
musical traditions of the Sassanid dynasty (226-641) of Persia and the former Byzantine Empire
(4th to 6th centuries), as well as the sung poetry of the Arabian Peninsula. Arab scholars also
learned from the writings on music of ancient Greek philosophers. Musical theorists of the 10th
and 11th centuries, such as Alfarabí and Avicenna (980-1037), built their own theories based on

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Greek tradition and the music of their time. These Greek works translated by Arab scholars were
later the subject of study by European scientists and philosophers.

The main current of influence of Islam is found in the territory between the south of the Iberian
Peninsula passing through the Mediterranean coast of Africa to the Near East, where it divides into
two branches, one towards Iran (reaching Indonesia) and the other towards Eastern Europe.

At the extremes, musical traditions are very mixed and Islamic is very blurred. But between
Morocco and Iran there is a very characteristic cultural unity that predominates over those
existing in those territories (Christian, Jewish, Arab, Turkish and Persian) which is the Arab
element.

In this culture, musical expression is based on individual talent. The musician is usually a
composer, performer and free improviser, with the appreciation of art focusing on details rather
than structure. The interpretation is organized around the maqamat, a series of indications about
preferred notes, small rhythmic-melodic cells, conclusions and other conventions, all around a
specific melodic mode. With these elements and a general feeling based on a specific emotion and
philosophy attached to each mode, the soloist composes, performs and improvises. All of this is
aimed at achieving the tarab, the point where the feeling and intellect of the art of making music
meet.

Cultured music has, until the end of the last century, always been courtly. It has developed thanks
to the patronage of the aristocracy, who have used it as entertainment, as a symbol of greatness
and even as a political weapon. The starting point has always been poetry, since Islamic culture
has a great love for it. Proof of this is the Quran, a poetic masterpiece in the history of Arabic
literature and absolute source of the Arabic language. The gigantic expansion of the Islamic
empire also makes it a catalyst for many musical traditions.

The transmission has been mostly oral, since even today the notation is used almost exclusively
for pedagogical purposes, since excessive precision has never been sought. An example of this is
the quarter tone, which despite being recorded in Arabic notation, its tuning varies depending on
the school or even the performer. Likewise, the same mode has different names and tunings
depending on the geographical location of the school.

Music is very present in the life of any Arab. It exists in any celebration and in popular sentiment
it is a vehicle to share common feelings. Each Islamic people has its own musical tradition of a
collective nature, which always has to a greater or lesser extent a part of what we call the Arab
element.

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 THE ARAB ORCHESTRA AND ITS INSTRUMENTS:

In order to explain the rhythms within Arab dance we have to talk first about the Arab orchestra
and its instruments.

Every dancer or teacher of this ancient dance must first know how to listen and discern between
one instrument and another and between the different rhythms to be able to dance and express
themselves correctly. It is very important to learn from the beginning what the difference is
between these concepts and develop your musical ear.

The Arab orchestra is divided into three groups, Strings, Wind and Percussion.

Within Percussion we find:

> Daff,(in Egypt Reek) or tambourine
> Mazzar
> Bless
> Table
> Derbake
> Tbilet or Tantan
> Carcabut or Casacabut
> Chinchines or Zagat.

Among those of Wind (aerophones) we have:

> nai
> Kawala
> Argul
> Mizmar
> Meshuij.

In the group of Strings (chordophones) we find:

> Lute
> Kanum
> Rabbab
> Violin (also called Kamanya)
> Buzul

The Arab orchestra has at least 10 performing instruments in some geographic regions. In the
Gulf area the orchestra is made up of 20 instruments, of which 10 are percussion.

When talking about geographical areas we are already dividing and introducing ourselves into the
rhythmology, according to their geographical region and their customs (folklore of each region).

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 1 .) PERCUSSION INSTRUMENTS:

Derbake – Darbouka – Tombak – Zarb :

Instrument originating from the Persian Gulf area. Its creation does not have a precise origin.
Drum in the shape of a cup or vase from the Islamic world that is also called darbouka, tombak or
zarb. It is made of clay, metal or wood and has a single patch. It is placed horizontally on the
performer's thigh and struck with the palms and fingers. The tuning can be varied by pressing the
skin with one hand and striking it with the other. Originally built in clay, a type of clay, and also in
metal. Fish or goat leather is used for percussion. An essential instrument in Arabic dances, such
as belly dance, its intervention is soloist, it is freer than that of the rest of the instruments in the
ensemble. The derbakist must have a total connection with the dancer's movements and
accompany every movement she makes.

The modern version of this instrument can be made of fiber and the heads are no longer made of
animal but of plastic, similar to those of drums. This is perhaps the most important percussion
instrument. When other instruments set the base rhythm, the derbakist fills in and improvises
quite freely.

It has a high-pitched sound used as a soloist within a set of percussion instruments. The tuning
can be varied by pressing the skin with one hand and striking it with the other. Of the large
number of pulses, up to 48, that make up the rhythmic structure of music
Arabic, there are strong beats (DUM) and weak beats (TAK). The rhythmic patterns are long, if we
add to that that the performers adorn these patterns depending on the style and musical
situation, sometimes it is difficult to understand them and they are only identifiable through of
strong times. The teaching of the derbake touch is traditionally transmitted from
orally through words that are the onomatopoeia of the beats like the djembe and other ancient
percussion instruments.

There are two different ways of holding the instrument for its performance: a typical Arabic one,
in which sitting on a chair, the instrument is placed on the left side on the thigh, held by the leg
and the arm on this side touching with the palm of the right hand and fingers of the left; another
in which, also seated, the instrument is placed between the knees and played with both hands.

The main blows of the derbake are two, and there are four more around it. They must be
practiced
everyone intensely to achieve a good understanding with the instrument and not be distracted by
the dancing hips of the dancers.

DUM Low-pitched hit with the right hand in the middle of the head.
TAK High pitch hit. The line that separates the palm from the fingers coincides with the margin of
the drum.
k Like TAK but with the left hand
p It is a blow that cushions the head with the other cupped hand
S Accented clap blow with the right hand r finger roll

Daola : It is similar to the derbake but almost double in size.

Daff :

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It is a kind of tambourine with plates (rattles). It is the most common percussion instrument.
They exist in a large number of sizes (up to almost a meter in diameter) and, although they are
usually circular in shape, there are also square and rhomboidal ones. Some are tunable and many
usually have metal jingles.

Masjar : It's like daff, but bigger and much louder.

Ra : Similar to the previous ones, but without rattles and larger.

Tabl or table :

Used especially at parties. It is usually made of wood, is approximately one meter in diameter and
produces a very serious sound.

It is made up of two drums, each with leather heads tuned by tientos. The smaller of the two is
called dayan or tabla. It is made of hollowed wood and is tuned to the raga tone. The drum that
marks the bass is called bayan or duggi and is made of metal (bronze and copper are the most
common materials) and in some cases clay. The tabla is unique among percussion instruments for
its enormous sound variety.

The name tabla probably derived from the Arabic word "tabl", meaning "drum". There is also a
belief that Amir Khusro invented the tabla by splitting a Pakhavaj in two. This however is
very debatable, since Abul Fazil (the scribe of the court of that time) No
mention neither describe to the table, putting in doubt the invention of
table by Amir Khusro. The
Muslim invasion undoubtedly influenced the culture, and consequently the structure of the table.
However, the texts and illustrations that describe the tabla as we know it today date from the
18th century.

Snush - Chinchines:

There are two bronze cymbals per hand, which are placed with leather strips on the thumb and
middle fingers. They clash, doubling the pulse of a rhythm or in some cases marking the initial
accents.

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 Bendeyr - Bendir:

The Bendir is a typical percussion instrument in Morocco and Algeria. The main characteristic of
the hits on the Bendir is their duration, reflected in their enveloping sound, which shows how their
relative intensity is attenuated. The characteristic hum is given by attached traps located at the
back of the head. The membrane of the bendir is made of animal skin placed on a wooden frame,
which has a hole for the thumb.

1.) AEROPHONE INSTRUMENTS:

It is one of the oldest forms of flute. It is made of cane and has a very particular embouchure that
makes it difficult to execute. This oblique reed flute is widely used in both popular and cultured
music and is, due to its soft and airy sound, the main instrument of the Mawalawiya brotherhood.
It has six holes in front and one at the back and has no mouthpiece, which is why it is played
obliquely. The technique of this instrument is highly developed, being able to play quarter tones
and with register possibilities of almost three octaves. The
Older forms of nai date to the age of the pyramids, shown in Egyptian paintings from 3,000-2,500
BC This type of nai is still used in certain Ethiopian tribes.

Kawala : (Nai more serious) It can be made of cane or wood. It has the peculiarity of sounding
fundamental and the octave at the same time.

Miswish :

Two joined single-reed reed aerophones, which sound simultaneously and with the same notes.
The slight detuning between the tubes produces a particular sound .

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 Mismar – Naghghar – Surnai :

The oldest mizmar has been found in an Egyptian tomb dating back to 3,000BC It is the traditional
wind musical instrument of ancient Egypt. It is also called a Zurna in Iran, Türkiye and among the
Kurds. It belongs to the double-reed woodwind instruments and is cylindrical in shape.

3. CHORDOPHONE INSTRUMENTS:

Lute – Oud – Luit – 'Ud - Luth :

The Arabic guitar. Oud in Arabic means branch or wood. Over time I changed to the word lute.
The oldest known lute was discovered in the tomb of the famous Egyptian musician, Harmosis,
who lived around 1,500 BC It is the most used in Arabic music. Is
The place it occupies within the culture is similar to our Spanish guitar.

It is performed with a plectrum made of horn called rish. Actually rish means, in Arabic, pen. The
original plectrums are made of feather. The plectrum is held firmly; not like a western pick. This
makes the instrument sound much heavier than a
Western chordophones. (Western European) The hand moves whole and with broad movements;
another difference with the guitar.

Rabat – Rababa – Rebab :

Rubbed chordophone. The bow is made of horse bristles like Western ones. They are generally one
string, but there can be 2, 3 and 4 strings. They can be like a kind of smaller lute or with a
wooden soundboard (the hoop) and 2 heads. (The name of this instrument is very similar to a
chordophone with very similar characteristics belonging to the music of Java, in Indonesia). The
Arabic Rabat or Arabic violin is the earliest bowed instrument
possible known and the father of the medieval European rebec. The first instrument was
mentioned in the 10th century

Kemanya :

Rubbed chordophone. Bow Lute, Cylindrical neck with 4 strings. It is the Arabic violin. The player
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rotates the instrument on its own axis in order to play the strings, placed around the neck. It is a
stick violin with two to four strings that is played in an upright position resting on the body or on
the floor. In Persian kamanchay, for example, the stick is used to move the instrument and attack
the metal strings with more force. There is also the kenan, which is actually the name given to the
Western violin and is used mainly in North Africa and Turkey. One of the most used chordophones
in the cultured and popular is the rebab, the precursor of the Western violin, which has as its
uniqueness the hollow neck, as an extension of the soundboard.

Qanoun – Qa'nun – Kanun – Santur – Cymbalon :

The Qanoun or Arabic piano is a zither with nylon strings and occupies the main place in the
orchestra.

It is performed dotted, with two plectrums held with metal rings, one in each hand. For each note
it has three strings of equal tuning, similar to a piano harp in its middle register . The number of
strings amounts to 75 (25 sounds per 3 strings each). The soundboard is flat and the bridge rests
on leather patches that transmit vibrations to the box. Each of the sounds has keys that during
execution allow the player to change the tuning by a quarter of a tone, a half, one, and in the
central strings up to a tone and a half.

Some more elaborate instruments have keys that allow you to change the tuning by commas. It is
performed alone or accompanied. During performance, the player can mute the sound with the
left hand, make appoggiaturas or embroideries, or change the tuning by pressing his finger near
the headstock. Both hands can play the same string making tremolos.

4. OTHER INSTRUMENTS: ELECTRONIC

Synthesizer :

Nowadays it is very common to find synthesizer keyboards in Arabic music. These are produced by
big brands especially for the Arab world. They have samples (recordings of real sounds) of original
Arabic instruments, as well as traditional rhythms already configured.

Electric guitar :

In modern orchestras you see this type of electric instruments.

RHYTHMS

There is a great variety of rhythms. The most used ones are described below:

Masmoudi It is executed in a time of 8/4. It has two parts, each one is four counts that are
followed to form eight blows to the bar

Maksoun – Balladi of the people It is a rhythm widely used in Egypt, it is a rhythm played in
4/4 time and if its form is reduced it gives another type of masmoudi.

Sarieh Same rhythm as Macsaum but twice as long.

Saidi Derived from El Said which is Upper Egypt, it is used in a martial art (dance with
long and heavy rods or canes). He also has four hits on the bar

Fallahi Means anything made by the fallahin who are country people (Egyptian farmers). Farmers
use this rhythm in their celebration songs from which the fallahi gained its meaning. Take four hits

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to the bar.

Zar Rhythm that belongs to an Egyptian dance to scare away evil spirits. An Offering of games,
sheep, goats and even small camels are used in this type of Rituals. The Zar rhythm has two hits
to the bar and is a very ghostly rhythm.

Malfuf (or Laff) This rhythm is in 2/4 and is used regularly in Raqs compositions.
Sharqui to enter or leave the stage.

Tahuil (Long and tall) It is also often called Wahda Kbir (big rhythm). Same
rhythmic figuration than the Malfuf, but much slower and with a different tessitura

Chifteteli Another form of Tahuil named after the Turks. Widely used in bases for
perform Taksim (improvisation). The second measure introduces a variation.

Karatchi We can say that the word karatchi is not Egyptian, it is also very unusual because it
begins with a "tak" which is a tremolo stroke instead of a "dom" which is a bass stroke. In any
case, it is used in Egyptian music and in North Africa. He has two hits on the bar.

The Zaffa is the way to accompany newlywed couples on their honeymoon. The bride and groom
are accompanied entering and leaving their celebrations by dancers and tambourine players (daf)
and (mazhar) is the Egyptian wedding march. It is a 4/4 rhythm. Time ¾. This tempo is used in
Egyptian music as well as Western music, similar to the Western waltz rhythm.

Samai It is widely used in Arabic classical music. It is a complicated sequence of three parts, the
first has threeblows, the second four, and the third three. Grouped together they
do this
magnificent 10/8 rhythm that is used in The compositions of Samaiat; considered a food
For the soul.

Abu El Hamsa Meansthe father of the five" this rhythm has five hits to the bar in
two sections. Thefirst part has two "Doms" that they frame the spirituality of rhythm
Masmoudi, the second part has three counts that give it the elegance and earthly spirit of the
Saídi. The "dom" and the "tac" are extremely important for the dancers because they are the
sounds that the derbake emits to identify the rhythm and the speed of music. The "dom" sets the
rhythm for us and is where the hip strike corresponds, and the "tac" is the intermediate part
between marking and marking

Tabl In general it is played with the bass drum, which is why it is called tabl. It is struck with two
reeds, one with the bent tip that hits the head and another that hits the side) .

Cairo and Aleppo are the two reference cities for Arabic music. In each one, different trends
developed, so some names and even styles and concepts can be quite different depending on
where they come from.

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WOMEN AND ARABIC DANCE:

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 THE DANCER THROUGH HISTORY:

In its beginnings, when this dance was of a sacred nature, its performers had to be adequately
prepared both physically and spiritually (they had to observe purity in all its manifestations, both
visible and ineffable).

These first dancers, priestesses, virgins, naked - nudity was a value of humble offering and beauty
for divinity - served as a link between the human and the celestial. Favors were requested or
divine wrath was appeased thanks to these women. Were
present at solemn festivals and in funeral processions; The latter were celebrations that today we
understand as sad, but for the people of that time, passing from this life to the next was the event
that gave meaning to their efforts and hopes in life. There they were, the dancers dedicated to
dancing involving flesh and spirit. Tattooed bodies, forever marked with religious symbols, thus
proving that they were heavenly property...

The advent and spread of Christianity led to the cancellation of the aforementioned solemnities,
considering them pagan rites. Christians born in Egypt (called
"Copts") were the way through which ancient ritual customs could be preserved, although at the
price of eliminating bodily nudity in temples and the title of "priestess" for women devoted to the
cult.

It was then that the ancient art of dance began to be spread by slave women, since those devoted
to religion had lost a lot of freedom of action. The slaves gave highly popular and very
entertaining shows; In this way, the dance was known in numerous places and its fame spread, it
left the temples.

But, again, the arrival of Islam to the entire known world - at the dawn of the Middle Ages -
silenced this artistic expression until it (apparently) disappeared. It didn't happen like that,
anyway. An art so visceral, so human and spiritual could not fall into permanent oblivion: it
reappeared, towards the end of the 18th century in the small circles of slaves held in the palaces
of ancient medieval caliphates.

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Highly educated, trained in singing, dancing and reciting poetry, the slaves were a reflection of the
power of the feudal lord in the Middle East. All natural or learned skills and abilities (plus physical
beauty) were values that traded very well on the slave market. Being cultured, these women
acquired enough cunning to manage situations in their favor through their beauty, which made
them excellent informants for their lords - or also very dangerous elements within the
government.

The slaves dedicated to artistic activities were the attraction at parties and meetings of the caliphs
and other lords. Their performances were performed in special spaces, where each dancer was
rewarded by the guests - always men - with gold coins or jewels if they managed to stand out
from the rest due to their skills or charm - hence the current custom of giving money to the
dancers. . In these lavish celebrations, the dancers were a
spectacle as much as the snake charmers and magicians present there. Their dances were
accompanied by chinchines or zaggat and it was not unusual for them to include a guest's sword
as an accessory to the dance.

During the 19th century, in Egypt there were two types of dancers: the ghawazee and the awalim:

The gawazi were Egyptian gypsies, women who performed in the art of singing and dancing,
usually for lower social class audiences. They danced in a very similar way to their predecessors
from the pharaonic period, which is why it can be said that they preserved the spiritual and
aesthetic essence of this activity. They were of Phoenician or Carthaginian origin and loved to
travel and travel great distances; They practiced reading coffee grounds and oysters, and they
also performed their artistic performances in the streets and their scope was very popular (since
they shared the stage with minstrels, fortune tellers and other famous characters from the
medieval period). They performed with a small group of musicians that usually included mizmar,
nay and tabla.

What perhaps interests us about this breed of women is the fact that they used to be dressed with
an enormous amount of ornaments - hoops, profusely decorated earrings, bracelets, coin
pendants, etc. - and a taste marked by bright and cheerful colors. , which gives us a clue as to
why the color and decorations of dancers' costumes are today.

The awalim were more respected and in addition to dancing, they sang and recited poetry. They
normally performed in rich people's homes. The musicians were: nay, oud, kanoon and tabla. In
both cases the dance was improvised.

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Until the 1930s, dancers had performed primarily in people's homes or cafes. That year, in Cairo,
a Lebanese woman named Badia Mansabni opened a nightclub called Casino Badia. This room
became very popular. It had a diverse program that was based in the East and featured European
dancers, singers, musicians, comedians and acts.

Oriental dance had always been danced in small spaces. At the Badia Casino it had to be adapted
to large stages. Badia Mansabny, in addition to training her dancers, worked with European
choreographers and dancers to include elements of other dances (ballet). These dancers normally
performed in groups, although those who stood out for their talent sometimes performed solo.

During this time, the two-piece suit with rhinestones and fringes, which was inspired by American
movies, became fashionable. In those years, a lot of films were produced in Egypt and it was
common to include a dance scene or have a dancer as the protagonist. Many talent scouts went to
Casino Badia looking for dancers for these scenes. The dancers and actresses were very successful
with the public. Many of these dancers
Discovered at the Badia Casino, they became very popular movie stars and acquired a status they
had never had before. Like Tahia Carioca, Samia Gamal, Naima Akef and Nadia
Gamal.

Nowadays, famous dancers usually dance in the clubs of five-star hotels, they lead an orchestra of
at least thirty musicians with traditional and modern instruments. The costumes are usually
exclusive and the show is completely choreographed. The first number is usually music specially
composed for them followed by a variety of popular songs. Some famous dancers today are: Fifí
Abdú, Nagwa Fouad, Amani, Mona Said, Dina, Laila Haddad and Soraya Hilal.

On Egyptian public television, belly dancing is now prohibited and the police carry out frequent
raids in tourist places in Cairo to verify that the dancers cover their navels, even with transparent
material, and that their skirts reach below the knees. . So there are fewer and fewer places that
offer this show and their professionals are less and less Egyptian and more and more girls from
the Far East, Latin America and the former Soviet Union. In August 2003 the Egyptian government
passed a law
prohibiting non-Egyptian dancers from working in belly dance shows. Fifi Abdu estimates that
there are still 5,000 Egyptian women dedicated to the art of Salome and wants to bring them
together in a professional body.

Today, great teachers such as: Tahia Carioca, Samia Gamal, Nagua Fuad or Raquia Hassan
herself, who is the organizer, are still fighting against the main fundamentalist mobilization.every
summer festival world of dance of the belly in the Cairo.
Collaborating with the prestigious maestro Mabmoud Reda himself, and dancing the famous
Egyptians DINA and RANDA KAMEL, being the only ones who do
not cover the navel with a half
transparent and wearing dresses above the knees, they charge around 6,000 euros per
performance and earn millions a year. (They are in the spotlight and have to have bodyguards).

Raqs Sharqi, with more or less cultural repressions, has been transmitted from generation to
generation, enriching itself with the creative capacity that each performer contributed based on
the most popular songs of their time in history.

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 THE ODALISQUE

In sacred cultures, the odalisque was the incarnation of the Goddess SHAKTI, a priestess,
mediator between the known world and the indecipherable mysteries of the immeasurable.

The
odalisque was a bridge between earth and sky, between man's fragmented consciousness and his
"self." Understanding the nature of the Erotic Art that his dance displays, requires
our culture, a particular mental deconditioning.

The authentic odalisque, was the priestess of the sacred temples, was a being initiated into the
mysteries who embodied in her dance the power of the primordial fire, the fire of the origin of
everything created, and the internal counterpart of everything that exists.

Through her dance the odalisque merged with the fire serpent and embodied it until she became
that serpent herself, in this way the Kundalini energy was controlled. This is how a magnetic
dialogue developed between the priestess and the musicians, just as between the dance and the
music, which generated a dreamlike atmosphere that caused the sensation of time dissolving.

In ancient times, the distinctive sign of the woman dedicated to this art was beauty and subtlety
in all its manifestations, from the simple act of eating to the unfolding of the wings of the most
exquisite poetry. His ascetic life involved perfect balance, a purified diet, and the practice of

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internal medicine that not only promised the health of the physical body but also that of the
higher planes (vital, emotional and intellectual).

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 THE BODY

The dancer's body must show two aspects:

1) the earthly and

2) the ethereal, thus achieving balance through dance.

From the waist up the dancer expresses the ethereal "the sky", her arms "her wings", from the
waist down "the earth" and her feet clinging to the earth demonstrate an attitude of connection
with matter.

This dance is specially designed for women as it places special emphasis on working the
abdominal and fibula muscles, as well as those of the torso and chest. It is danced with bare feet,
because through them you connect with Mother Earth, you gain foundation, you root your actions,
thoughts, emotions and desires.

For example, the repetitive rhythms of indigenous dances in some places in Mexico, as well as the
persistent cadence with which the soles of the dancers' feet hit the earth, are directly related to
the call to the deities that covered the divine realm. pre-Hispanic

The transition from ritual dance to dance for fun, as well as the transfer of communal dances to
theatrical performances, took, in some cases, centuries. In the successive transformations and
adaptations, each human group added or removed ingredients according to its own culture of the
body: clothing, masks, costumes, steps, attitudes, gestures, objectives, forms.

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 THE LOOK

In belly dance , there are elements such as clothing, veil, accessories and makeup , which
contribute to forming the sensual characteristics of this dance.

The suit is like the odalisque's second skin. The wardrobe is not the most important
thing in the
dance, but it is an ingredient that, well interpreted, refers to the sumptuousness and visual
richness that Arab culture has manifested for centuries, even in garments such as noble tunics.

The basic outfit of a professional dancer usually consists of a skirt or wide pants along with
colorful and daring bustiers. An essential piece of oriental culture are the decorations on the waist,
marking the female figure and helping to pronounce the movements. Some dancers use a certain
type of rhythmic instrument as a unique accompaniment to their dance. There is also the use of
other types of objects, such as: snakes, swords, veils and candles...These objects have magical
and protective functions. Snakes are related to ancient mysterious cults. It is a complex symbol
that represented the masculine and feminine principles, and also immortality in the form of the
snake eating its tail.

The body is the instrument that the Arab dancer uses to express her dance, but the look is
essential to complete that expression. The face must be finely made up with well-detailed
eyeliner. For this, the traditional kehel (or kohol) is used, which is a kind of mascara based on
antimony sulfide powder that has been used to enhance the look of women (and also men) in
Arab countries since time immemorial. .

Using this product, unlike conventional makeup products, offers the added advantage that it
works as eye drops to protect the eyes from the strong rays of the sun or the rays directed
towards the face (as occurs in many cases at show time). This
besides the look super authentic that offers to the look, that stands
out especially in those
Arab dance steps in which half of the face is covered with the veil.

It is very notorious even for him more inexperienced when

the look does not accompany with his
expression to dance ; It's like seeing technique without soul . And makeup collaborates
in this expression.

Arab dance is a clear manifestation of the strength and magnetism of the female sex. In it the
body movements are total; a combination of mime and theater where facial expressions and
muscle contractions must be framed by a mysterious yet powerfully attractive and feminine
stylistic aspect.

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 LOCKER ROOM
BELLY DANCE COSTUMES

It may seem like all belly dance costumes are the same. But, both the costume, the music, the
essence, and the expression of the movement are regionally different.

Türkiye

The Turkish belly dance costume consists of the bodice, the belt (or fringe that covers the hips)
and the skirt. Common among current designs are hip decorations built directly onto the skirt
instead of a separate strap. Accessories may include headband, necklace, wrist or arm points or
sleeves and veil. The dresses are not common. Shoes are a possibility.

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The commonalities between Turkish belly dance costumes are: the beaded fringe of the hips
should be between 6 to 18 inches. Alternatively, the fringe can be attached at the base of the
bodice and extend around the back or just across the front. In any scenario the fringe is attached
at the base of the skirt and is not independent.

The surface of the strap and bodice are stitched in a contrasting color to create a design on each
cup of the bodice and on the front and back of the strap. The design is often a flowing abstract
design, although recognizable patterns such as clam shells, diamonds, flowers, etc. are found.

The edges of the bodice and belt are often crafted in scallops, dots, or curlicues etc. The strap,
both front and back, is cut in the center in a sharp V shape. The V can be delicate or absolutely
large.

A complete suit includes sheer pants along with the skirt or just the skirt and may also include a
veil. Fabrics tend to be an industrial polyester/chiffon blend.

Other distinctive elements of Turkish costumes are: the risque, slits cut in the skirt and/or belt
and skirts that are arranged or styled to show both legs up to the hips.

Turkish dance produced in high circles wears similar characteristics but the quality is superior.
For example, the patterns of the bodice and strap design will be in the same
proportion, that is, the strip will be exactly the same length, and chained at the end. The stitch
work is more robust. There will be more detail work on the skirt and veil. The shape and fit of the
bodice and strap are better.

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Turkish belly dance costumes made by designers:

The commonalities between Turkish belly dance costumes made by designers are more difficult to
define because the nature of designing is the individual creativity of each designer. But a certain
comment can be made.

The molded fringe remains in long and short filaments. Trends are leaning toward a fuller fringe
on the strap, accentuating the fringe on the bodice. The skirt has the strap
stuck to it.

They tend to use large and small glass stones in conjunction with fabric, sequins, and seed beads
to cover and decorate the surface of the bodice and belt, and accent accessories. Alternatively,
the surfaces can have delicate crystal beads of contrasting colors embedded between the
embroidery. There is a tendency in both cases to decorate with flowing abstract patterns. The skirt
and accessories are often heavily decorated. Bodice shapes vary from classic bodice to
adjoining half vest,
asymmetrical half top/half bodice, big diamond shapes at the bottom of the bodice, etc. Strap
shapes also vary although the V shape is a trademark.

The full designer costumes include decorative headband and necklace, some type of arm
ornament, a veil, bodice, belt and skirt. Fabrics used are velvet, crushed velvet, stretch velvet,
chiffons and some lycra - mostly mattes.

Pictures of the Turkish belly dance costumes of Turkish dancers (1960s):

Sabine Sevan Princess Banu Ozel Turkbas

Burcin Orhon
Egypt

The typical Egyptian belly dance costume is a dress or bodice and a skirt with hip details built

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directly over it. Accessories may include a bandage,
arm stitches or mittens and a veil.

In Egypt, oriental dancers are prohibited from exposing their bellies. They must use at least one
transparent fabric, whether in any color or skin color. Shoes are a possibility.

The skirt fringe is 6 to 12 inches long ending with filaments made of grains and in a range of
colors. The fringe on the bodice meets in two places: across the base and in a large V that starts
on the outside of the cups and comes to a point where the cups meet. Although the bodice can
also come with only one fringe arrangement.

Both the surface of the strap and the bodice are embroidered only with sequins in a solid color.

There is nothing notable about the shape of the current bodice used in Egyptian belly dance
costumes. But the styling of the strap is different.

The front part of the strap is rectangular in shape while the back part is in the shape of a half
circle that covers the hips and part of the buttocks. The strap is one piece without any divisions
and the edges are unadorned and straight.

A complete costume includes the bodice, belt, skirt, a rectangular or half-circle shaped veil.
Fabrics tend to be a polyester/chiffon blend with sharp grains and color ranges.

The skirt is any; two skirts or one formed with three pieces of fabric in the shape of a circle and
decorated with flowers made with sequins. Or a circular pleated skirt with vertical rows of sequins.

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Egyptian belly dance costumes made by designers:

The dresses and the bodice with the skirt are plain. If there are fringes or decorations on the
costume, chunky beads are used, often grouping several strands and placing them sparsely in the
pelvic area. The dresses or the bodice with the skirt are made with lycra type fabrics. Dresses
often have covered outlets.

The cups of the bodice, the pelvic area and the length of the skirt are embroidered in recognizable
designs, such as flowers or flowing abstracts. The materials used are sequins and a variety of
beads. Stones, especially large ones, are not very common. Although there is a predilection to
accentuate the central area of the bodice with a large stone. Due to the polyurethane fabrics the
fit is tight and smooth. This goes for accessories too.

A complete costume is made up of the dress, plus the blindfold, sleeves and veil or the bodice and
skirt, blindfold, sleeves, and veil.

Pictures of the Egyptian belly dance costumes of Egyptian dancers (1950s):

Carioca Gamal Said Zaki

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 America

Americans who follow authentic ethnic styles (Turkish, Lebanese and Egyptian) pattern clothing in
a manner traditional to the region they represent.

A note on tribal style

Tribal style uses natural fiber materials often in earthy tones. The truth is that the roots of the
tribal style go back to 1968 in California. The precursor was a dance company, "Bal Anot", created
by the American dancer Jamila Salimpour.

The clothing includes diverse elements drawn within a different look. Jamila created characters
that had an "old style, Middle Eastern feel". The components
Basic today are the turban, choli, wedged bodice, tassel belt, multi-tiered skirt, pants, scarves,
Mazouna ropes, shisa mirrors and Kuchi jewelry. Total, Afghani, Pakistani and Indian flavors seem
to dominate (countries not connected to belly dancing).

The tribal style dancer will often wear a turban. The woman covers her hair with a hijab, a simple
piece of cloth arranged to be placed over the scalp and length of the hair. The tribal dancer will
choose only one top of the choli to cover the bust or as an addition to the bodice. The choli is a
proper cover up that covers everything up to the under bust line. The belt will often be decorated
with yarn tassels. In North Africa tassels are used to decorate camel and donkey halters and
saddle blankets on special occasions.

The classic American belly dance costume

The American costume has many different additions or subtractions to the original genre. Personal
taste is influential when it comes to making outfits. The basic components are the decorations, the
bodice, the vest, the belt, the skirt, pants, scarves and the veil. On the head a bandage with a
fringe made of grains or coins or both at the same time. The fringe hangs in front of the forehead
and along the sides of the face. Hair is loose and exposed
(favors long hair). Earrings and necklaces are also included.

The bodice and strap are covered with fabric and metal decorations are sewn onto the bodice and
strap. These ornaments can be coins, bells, chains, large discs and sometimes small mirrors. One
of them or all of them are used at the same time. Metal colors can be brass, nickel variants, gold
and silver or antiqued. Normally the belly is covered with the same material. The belly and ribs
are covered with filigree.

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Also, instead of metal decorations, the nylon fringe can be decorated with beads and speckled
with stones or sequins. You can wear a vest with the bra. The front of the vest is cut in the middle
in such a way as to allow the bra cups to be visible. The vest coordinates with the fabrics of the
skirt.

Nothing notable about the shape of the bodice. Belt bases are handcrafted and formed to
individual preference. The skirt has several layers of chiffon. The pants are made with chiffon,
satins, silk tensions... Both the skirt and the pants have no details or decorations. Scarves can be
worn under the belt or tucked into the belt. Rings, arm bands, mittens and ankle bracelets are
popular and no shoes are used.

The use of coins, and other types of metal as decoration on belly dance clothing is an American
adornment. Along with vests, scarves, ankle bracelets and Indian fabrics.

Pictures of American belly dance costumes of American dancers:

Salome Salome
e
Beyata
American belly dance costumes made by designers:

There are no haute couture designers of American belly dance costumes as in the case of Turkey
and Egypt. The classic American belly dance costume has traditionally been a personally
handmade ensemble or assembly of several pre-made items.

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