painting by Saad El Girgawi

The term “Baladi” is an important word for every Egyptian whose life and traditions identify him or her with the soil of Egypt, the original country.”

 Suraya Hilal

Baladi and Sha’abi in Egyptian Dance and Music is mostly misunderstood from the Western perspective. Since Baladi is the ‘Heart as well as the Root’ of Middle Eastern Dance,  Danse Oriental, Raks Sharki, and what we call Belly Dance, to understand it becomes essential in order to truly appreciate and experience the movement and music of this beautiful art form.

If we take this dance and apply it to our own cultural perspective, we are applying a veneer of movement that can only portray an interpretation devoid of the ‘Origin and Feeling’ of the music. Certainly that is an option. Yet, we might consider how much richer and more joyful our dance experience might be if we understand the ‘Feel’  and Power of the ‘Baladi Personae’ expressed in the music and movement.

Suraya Hilal of the HilalArt Foundation in the UK, has written a very insightful paper on this subject, of which I am only introducing here. It is well worth reading ‘The Baladi Personae In Egyptian Dance and Music’    .

In her illuminating paper Surya Hilal brings to light the passionate cultural, socio-economic expression that Baladi and Sha’abi Music and Dance are…a tradition that was born of the soil of Egypt. 

“Awalad el Balad ( the children of the country)… The term describes the particular identity of the working class people, the people who have migrated from rural villages and farming communities and settled in the cities, creating their own kind of community. Awalad el Balad is also a term that refers to the “real Egyptian” , or ” Masri Asil”, as opposed to the Western occupiers and Westernized Egyptians, known as “Afrang”. This is an important distinction for Egyptians, who have been ruled by foreigners for long periods  of their history.”

The Baladi community of lower middle class origin, people of trade and craft, including the trade and craft of the artist, singer dancer, adhered to a strong code of ethics. The true Egyptian is ‘gada’a', for men and ‘gada’ah, for women…good, honorable, courageous and responsible…which includes the singers dancers and musicians that live by ‘the ethics of the Baladi tradition.’

 Baladi music and dancing were taking place for decades, even before the turn of the 20th Century, in the main Sha’abi  Quarter of Cairo, Mohammad Ali Street.

“In the city, the term Sha’abi’ is loosely used to mean ‘popular’, of the masses or populace. Baladi people, with their distinct and traditional-modern culture, have their origins in the ” Balad”, the village or countryside. They live in Sha’abi quarters such as Bulaq or Mohammad Ali Street.” Suraya Hilal further explains that  ” From this urban struggle of opposites emerges the essential expression of the Baladi character, in the music, the dance and the personae which were so well portrayed in the films of the 1940′s and 1950′s.Their yearning for truth and goodness and the simple life gives meaning to their struggles in the urban chaos. The depth of the soul and the bitter-sweet nature of life are reflected in the Baladi culture, especially in music and song.”

Here is Naima Akef in an old Egyptian film that depicts the Balady Personae…and the female singer singing “the ‘Mawaal’ the soulful improvisation of the voice… ”

 The distinction of the true Shaabi music and singers is that it is from the Upper Egypt (Sai’di) and Fallahi (farming community) musical traditions.

‘Early on in the 1960′s the famous Mohammad Taha was one of the first singers to bridge the gap between the Baladi and Sha’abi song and to urbanise and popularise his songs.” (S. Hilal)

I had the privilege to meet Mohammad Taha and watch him perform in San Diego in the 70′s! What an experience!

I found this clip from an old Egyptian film of Mohammad Taha singing  and Gawaher, a realitivly unknown Belly Dancer circa 1962.

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” The dancer’s body is simply the luminous manifestation of the soul.”

Isadora Duncan

It came to me that this subject of the’ Language of Oriental Dance’ has, seemingly, many layers.

It is evident , from my own experience, and the years of witnessing and hearing about other women’s experience, that we unanimously agree that this dance is transformative. Regardless of our initial motive to learn to Belly Dance, the experience of the dance, the music and movement, the feminine quality, the fun and sisterhood…and the profound feeling of confidence ,clarity and connection with our spirit  that we each develop and experience is the  captivating gift we all share!

Just as Isadora Duncan, in the early 1900′s, created her own version of dance based on the themes of Greek Mythology, ‘Belly Dance’ in the Western world, particularly in America, has evolved it’s own mythology!

” Virtually alone, Isadora restored dance to a high place among the arts. Breaking with convention, Isadora traced the art of dance back to it’s roots as a sacred art.”

The restrictive and repressive era of Isadora was the catalyst for her to find a ‘template’ based on a cultural foundation to express her passion and spirit in a free and natural form of movement.

In the 60′s and 70′s in America women were also seeking ways to break free of convention. The ‘template’ of Oriental Dance which became labeled as ‘Belly Dance’ in the West provided not only the cultural foundation but the very essence of free and natural feminine movement!

Arabic music with it’s ‘Heartbeat’ rhythms, exciting, exotic sounds and melodies, along with the powerful movements of Oriental Dance, allowed the Western woman to enter an unfamiliar portal that opened the floodgates of creativity, personal power and freedom!

In the same way that Isadora ‘created’ a form of dance, based on what she imagined might have been in an ancient culture, we American dancers from the 70′s and beyond ‘created’ Belly Dance from what we only could imagine it to be…given our limited knowledge and exposure to the culture of it’s origins at that time.

Also, like Isadora, those of us that burned with the passion of our new found ‘freedom of expression and art’ sought to elevate ‘Belly Dance’ to a ‘high place among the arts’.

At the same time, in the land of it’s origins,the women of Oriental Dance were creating an equally powerful phenomenon within Middle Eastern Culture. The Oriental Dance Stars from Egypt and Lebanon,such as Najwa Fouad, Suhair Zake, Fifi Abdou, Mona El Said and Nadia Gamal, were actively evolving this Dance from it’s traditional origins, with the aid of the sweeping power of the film industry and tourism, to a popular and elevated stature on stage and silver screen!

It is interesting to note that although Oriental Dance and it’s Western forms of Belly Dance finds it’s expression as a Performance Art, at the same time, it is also, in both cultures, an experience of ‘Collective Joy!’ In the Middle East the women dance with and for each other in women’s parties,( Haflas) and gatherings just as Western women Dance together in classes, workshops and Haflas. In both instances this dance allows women to share sisterhood, joy and creativity in an environment that supports an experience of dance in freedom and abandon!

Here is a treasure from a Documentary of Moroccan Women Dancing in a Birth of a Child Celebration!

At the root of it all, the desire for individual and collective joy is the impetus to dance and to share our dancing with others. Whether we are alone on a stage or in a gathering, when the music calls, our soul responds and we call it ‘Dance’ !

Here is a wonderful video I just discovered that depicts the fun and pure joy that can emerge from even the most seemingly austere and grey surroundings! This is an ‘After New years’ gathering in Bulgaria…I believe this is actually called ‘Kucheck’ yet it seems to have Oriental Dance roots!

Cold weather…Hot Kucheck!
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What Language are YOU speaking?

If language is considered to be a system of communication ‘ using sounds, symbols and words to express a meaning, idea or thought’ then dance is a language.

The language of Oriental Dance, is an expression of the feminine soul in movement to the music…That means ‘Your Soul’! That expression is as unique as your ‘voice’.

In keeping with the metaphor of dance as language…..we can explore a subject that has come to the forefront of the “Belly Dance World’ in recent years! That is, dancing improvisation or with choreography!

First off, they are not mutually exclusive..there is certainly a place for both! The question that comes to mind is with respect to ‘ learning’ the dance through choreography with the exclusion of Improvisation!

It has come to my attention, through various sources lately, that women are being taught to dance perdominantly through choreography…this has created the ‘phenomonon’ that students can’t dance without a choreography!

This would be like, learning a language and only being able to speak words in sentences that communicate thoughts, expressions and ideas that come from someone else. You would not be able to communicate your own thoughts, expressions and ideas!

This dance comes from a culture that is ‘foreign’ to us, not only in language but in movement, musical tone and rhythm. In order to ‘learn’ this language of dance we must learn the basic vocabulary/movements, immerse ourselves in ‘hearing’ the spoken language/music and allow ourselves to experience the expression by speaking/dancing!

The above elements of the dance are a ‘whole’ expression, they are not isolated parts. If your learning experience is simply a repitition of isolated movements that are then strung together into counted out phrases that are in sync with the music… forming a dance created by someone else… you will have learned ‘a dance’ but not ‘to dance’!

It is like the difference between writing a poem and reciting someone else’s poem…..

Shall we ask ourselves the REAL question? What attracted us to Belly Dance and why did we want to learn it?

Was it to experience the Beauty, Joy, Excitement, and Power that we saw and felt when we watched an Oriental Dancer?

In order to have that experience, it is necessary to understand and ‘FEEL’ the music and movement.  How do we accomplish that? How do we make this dance our own original authentic art?

Since this subject of ‘How’ we learn and develop in Belly Dance is a ‘Core’ subject, I would like to spend some time in the next couple of blogs exploring it!

I would like to invite you to leave your comments and questions that arise from your own experience with respect to ‘Learning the Art of Belly Dance’!

” True ease in writing comes from art, not chance,                                                   As those move easiest who have learned to dance”

Alexander Pope

And so Beautiful Dancers, I close with a video to inspire you, from a dancer that said in her own words, ” I have never choreographed anything in my life”… Read the rest of this entry »

Little Egypt

Princesses… Great Exhibitions..Side Shows…Charmers…and…

What happens when Men get all up in our Dance….

I was fascinated when I discovered some YouTube clips from the late 1800′s and early 1900′s of Oriental Dance ( then named Belly Dance.. the English version of the French phrase ‘Danse du ventre’… Dance of the stomach)…when it was first introduced to the West…it seems that Thomas Edison not only found a way to put a ‘meter’ on electricity but through film also helped put a ‘meter’ on our lovely dance! You want to ‘Play’ you gotta ‘Pay’ !!!!!

 We have all heard of ‘Little Egypt’ , The Chicago World Fair, and Promoter, Sol Bloom…if not, here is a brief rundown…from Molly Crabapple’s Blog

” Sol Bloom (Pekin, Illinois, March 9, 1870–1949), was the son of Polish Jews. He started in show biz at seven, managing theatres by his early teens. At the age of twenty-two, he talked his way into the Midway commission at the 1893 World’s Columbian Exposition. Initially conceived of as an anthropology exhibit, under Bloom’s lead the Midway became a fleshier, more sinful counterpoint to Chicago’s White City. He imported hookahs, African villages, and the belly dancer Little Egypt, who entertained in a special “men only” tent. Bloom composed his most famous tune after Little Egypt complained about not being able to dance to classical waltzes. He never trademarked it, much to his regret.”

We don’t have a film of Little Egypt…but…here are Thomas Edison Company’s silent black and white clips of ‘Belly Dance’!

This first one is Princess Ali.. circa 1895..seems this is an Algerian..Berber Scarf Dance..

Brief yet wonderful!

Then from 1898 here is a clip of a ‘Turkish Dance’ by Ella Lola….is she Turkish? Not Sure… but she gives it a whirl! 

And Last but certainly NOT least is the ultimate..filmed by ‘American Mutoscope and Biograph Company…of Princess Rajah…Warning!!! “Don’t Try This At Home”!!!
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Suhair Zaki

An’ Authentic Love of Dance’ always shines through!

A truly great Dance Artist is so much more than moves, steps, a perfect sense of rhythm,  awesome costuming and delightful looks! As much as these attributes are  necessary they are only the external ‘container’ for the true element that comprises ‘star quality’! The magical element that creates greatness is ‘Love’…and a Dancer’s ‘True Love of the Music and Dance’…expressed authentically…is the elixir that keeps us coming back for more!

Egyptian Dance legend Suheir Zaki has been gracing the stage and capturing our hearts for many years. In the Middle East she is loved so dearly that many refer to her as the ‘Oum Koulthoum of Dance’ ( rumour has it that late President of Egypt, Anwar Sadat, gave her that title). That is quite a title considering that Oum Koulthoum is the ‘High Priestess’ of Arabic song! I don’t think you will find anyone in any Middle Eastern country that will deny the Great Talent of Oum Koulthoum…and, of course, you will find those that would take affront to giving even second billing to a ‘Dancer’..yet, for those who recognize Raqs Sharqi as Art…Suhair Zaki is a beloved Artist!  Suheir is also KNOWN to be the first dancer to perform on Oum Koulthoum’s music,( it is said … with her personal blessing).  Suheir Zaki has set the standard for the approach to Egyptian Dance on these classic treasures.  

Suheir Zaki’s sweet dance persona has remained with her throughout her career. Here is a clip from an Egyptian Movie when she was a VERY young teenager!
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“ Children Are Our Teachers”

When I was living in Lebanon it was always purely delightful and an education in movement to watch a little girl get up and dance. In family parties, there is always, it seems, a ‘little bright star’ that just loves to dance. The adults encourage her and everyone becomes totally inspired!

Usually one of the women gets a scarf and ties it around her hips..and off she goes!  The ‘Natural Movement’ of these little beauties is pure joy!

Here is a fantastic clip from an old Egyptian movie of a ‘Family Party’ with a ” Little Star’ that ‘gets the party started’ .. And Ends it!

What Fun!

After all that is what this dance is about..Fun…Joy…Beauty! That is the essence of dancing! Children are naturally in the spirit of dance.

This next clip was filmed by someone attending the Ahlan Wa Sahlan Festival in Cairo. This young girl got up on stage between the shows to ‘play around’… watch and learn! Read the rest of this entry »

Ahlan Wa Sahlan …Welcome to Juwariah…a Master Story Teller, and a woman of many talents, living a life of adventure.

The strait of Gibraltar is the narrow passage between Morocco and Spain.

An air cushion hydrofoil ferry was all I needed to make, more years ago than I care to count, the connection between Morocco and Spain—and more tellingly, between Oriental Dance and Spanish Flamenco.   The connection is more tenable than the ticket one buys to make the crossing. Still, seeing is believing.

The day after we arrived in Cadiz was a bank holiday. The same people who had sold us a postcard from a kiosk, a T shirt from a boutique, or who had served us a dish of Ceviche with bread at a street table did the unexpected: they walked out in the middle of the street and started dancing.

Flamenco in the streets.  Everyone was a bit more talented than I had expected (ever in my wildest dreams)  Sweet, hard working matrons of the day before were snapping their fingers, clacking their  castanets, and pounding around the pavement in high heels with  equally invigorated spouses—or whichever male neighbor decided to spring forward to partner them. Not that they couldn’t dance—and very well, thank you—alone. Here is a taste of Spanish Street Dancing.

I thought, “How very Spanish!”   I also thought here was living proof of Moorish Spain’s heritage—in addition to all those ancient Muslim castles so amazing the French refer to them in the expression “Don’t go building castles in Spain!” (In English, we say, “Don’t go building castles in the air!”) Read the rest of this entry »

First We Imitate Then We Create!

It is a natural progression of learning an art form, it seems, to imitate our teachers. In dance, through the process of imitating, we develop the movement skills, the rhythmic expression and nuance that we can internalize. By repetitively watching and following our teacher we gain the imprinted skills that allow us to experience our bodies in dance.

Once we develop a more extensive movement vocabulary we gain confidence in our abilities and we experience the desire to expand.

Hopefully, we have a teacher that points us to the resources, such as videos, DVD’s and YouTube, that will expose us to other dancers that will inspire and instruct us in our ‘learning journey’. The more we experience, through observation of the  ‘style’ of each dancer, the more inspired we become to express our own unique style.

I thought it might be interesting to watch a current ‘Star’ in Egypt, Randa Kamel. Although she has flavors of Egyptian Super Star Lucy..She is very innovative and definitely has her own unique style of Oriental Dance!
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Michael Jackson (1958-2009)

Thank You for your Beauty!
Namaste… Michael !

Whatever has been said or will be said about Michael Jackson,one thing is for certain, he had a powerful gift and he gave it! He was a Bright Star amongst a ‘world of planets’!
What is the difference between a Planet and a Star?

“Stars are huge balls of hot gas that emit their own light . Stars burn hydrogen in their cores and have nuclear fusion going on inside. A planet does not have nuclear fusion. A planet is a world like the Earth. Unlike stars, planets get their light from the Sun.”

Stars emit their own light…Planets only reflect light!

Michael Jackson gave his light through every possible aspect of Music and Dance! From a Dancer’s perspective his movement was truly ‘Stellar’ ….the visual he created with his ‘moonwalk’ and all of his dancing, expanded our perception of the human body, movement and gravity!
Michael was truly a ‘Cosmic Dancer’!

Here is a montage of Michael’s Best Dance Moves! (if your time is limited..don’t miss ’3:34′ time on the vid…Wow!) Read the rest of this entry »

A Marriage Made in Heaven…..

The Arabic Drum is the heartbeat…the sounds of the fingers on the Drum skin stirs the Dancer’s soul..makes it quiver…the body responds…movement is born!

If the elements of Oriental Dance are a metaphor for Life…then the Drum Solo is ‘Elemental Fire’!

Here is a famous clip of Egyptian Dance Legend Najwa Fouad ‘On Fire”!

Najwa, in pure abandon with the drum is a demonstration of the ‘primal’ quality of  the relationship of Dancer and Drum.

Notice how she opens with the spin and then becomes almost rooted to the spot where she stands. The shimmy and vibration originates from the hips as it moves up into the abdomen and is then fueled by the chest shimmies and lifts! Her beautiful arm movements create a lifting and dropping momentum that enhances the crescendo of  chest and hip pops and shimmies! The ‘fire’ builds with the crashing cymbals and drums and leaps up to powerful head movements as she lets loose in a finale of wild abandon!  A classic Najwa piece!

In addition to the ‘Drum Solo’ there is another wonderful Dancer and Drummer show in Lebanon that Howaida Hachem is famous for… Read the rest of this entry »