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Congratulations on signing up for your first workshop! Workshops are different from regular classes for a few reasons: there will likely be more people than your regular class, the lesson will last longer, the information will probably be more concentrated, and there's a different teacher- which means different expectations. Here are some tips to prevent you from being "that student".
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From level 2 on, please pick a song each week to familiarize yourself with. Keep an ear out for songs you might like to dance to at student shows!
From level 2 on, please pick a song each week to familiarize yourself with. Keep an ear out for songs you might like to dance to at student shows!
Takeem (also spelled taqasim, taqsim, takseem, taxim, etc, etc) is a solo melodic improvisation. There is a structure to it that explores the maqam the taxeem is in and returns to the home note established at the start. There is more to it that gets pretty technical, for now you should just be aware that it is the musician following their feeling and displaying artistry. One interesting thing, it means "division" in Arabic, and something along the lines of "bridge/connection" in Turkish. It is often used to create a smooth transition from one song to another, especially if there is a maqam (mode/scale/key) change from one song to the next.
Part 1:This semester, we've worked on musical phrasing and learning to identify different instruments. All of that comes together when a band or orchestra plays. So, let's look at some different types of bands!
I like to start teaching phrasing with call and response because I think the change between the call and the response helps to draw attention to the end of one "sentence" and the start of another. There are three main types of call and response, but the lines between them are blurry and the categories are more guides for understanding that call and responses can sound differently, they are not hard rules.
This is intended as a source of review for students, or as an orientation. It is by no means an exhaustive list of all MENAHT instruments, but it is a good foundation list of instruments for raqs sharki dancers to be able to recognize in their music. For a more comprehensive list of Middle Eastern instruments, go here. As you learn to identify the sounds of each instrument, practice interpreting their textures. Over time, you will develop certain associations, or moves that "feel right for this sound" to you. Look also at the how the musicians play, their faces and their hands, for information about the feeling and ideas about how fast/slow or sharp/smooth you might want to move. Studying taxeem (solo improvisation on a melodic instrument) is also a key skill as you progress in your dancing.
This is intended as a source of review for students, or as an orientation. It is by no means an exhaustive list of all MENAHT instruments, but it is a good foundation list of instruments for raqs sharki dancers to be able to recognize in their music. For a more comprehensive list of Middle Eastern instruments, go here. As you learn to identify the sounds of each instrument, practice interpreting their textures. Over time, you will develop certain associations, or moves that "feel right for this sound" to you. Look also at the how the musicians play, their faces and their hands, for information about the feeling and ideas about how fast/slow or sharp/smooth you might want to move. Studying taxeem (solo improvisation on a melodic instrument) is also a key skill as you progress in your dancing.
Blown instruments are closest to the human voice which, being capable of religious praising, puts them at the top of the musician's hierarchy. This is intended as a source of review for students, or as an orientation. It is by no means an exhaustive list of all MENAHT instruments, but it is a good foundation list of instruments for raqs sharki dancers to be able to recognize in their music. For a more comprehensive list of Middle Eastern instruments, go here. As you learn to identify the sounds of each instrument, practice interpreting their textures. Over time, you will develop certain associations, or moves that "feel right for this sound" to you. Look also at the how the musicians play, their faces and their hands, for information about the feeling and ideas about how fast/slow or sharp/smooth you might want to move. Studying taxeem (solo improvisation on a melodic instrument) is also a key skill as you progress in your dancing.
Percussion Instruments form the backbone of the music. Rhythms even impact the emphasis patterns of the melody. Each percussion instrument gives a different feeling. This post is a place for level 2 students to find resources to support the rhythms and drum solo semester of classes. It is by NO MEANS a comprehensive list of rhythms! For the most part, the rhythms we start with are the most commonly used in bellydance music, there is a certain bias towards Egyptian music in this class. Count on continuing to learn more rhythms each semester.
When working on mapping out a song's verses/section, what I like to call paragraphs, there are some common pattens they can take. You can find examples of these listen in the "Egyptian Music Appreciation and Practice for Bellydancers" book and CD set I keep bringing up in class.
A musical phrase is a bit like a sentence in a conversation. You will notice there are some places that you naturally try to fit in a breath, and some places where you might have to awkwardly squeeze one in. Those places where a breath naturally fits are the ends of a sentence/phrase. (As I mentioned in class, a sentence is just a way I conceptualize what a musician more properly calls a musical phrase). Just like in a conversation, it's not usually a good idea to switch topics in the middle of a sentence! Unless the music has some sort of change happening during the phrase, you usually want to stick with the movement you're doing until the end of a phrase. Again, this is a general guideline to help overcome the tendency to over dance that most students go though, it is not a rule.
Egyptian Sets Dancers today often don't use a formal set structure. For example, a dancer performing at a wedding in Cairo in 2024 might perform a solo to an entrance piece (Anywhere 4 and 20 minutes) and the rest of their performance would be dancing with the wedding guest all together on the dance floor. For a show in a 5 star hotel, on a boat, or in a night club, she might have a collection of songs and tableaus in any order the dancer curates for her (current Cairo laws do not license male bellydancers) audience.
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This post will be short because I don't know much about either of these regions, but I don't want to leave them out. In the future, I am hoping to have this re-written by some one with more expertise in the areas covered. 9 of 11
Many American dancers hold Egyptian style up as a standard as a result of shifts that happened during the 80s. Cheaper travel and the hard work of the Egyptian tourism board, plus tapes of Egyptian dancers from the golden era, Lebanon's civil war, and changes in Turkey shifted the focus of dancers in the US from Anatolian areas to Egypt. But while dancers in the US were idolizing Egypt's golden era, many changes were taking place within Egypt's dance scene, especially during the 1990s. 7 of 11
This post is about the style changes that happened in the US between the 90s and 2010s and how the situation dancers in the US found themselves in changed. During the 80s, dancing in the US was still basically the same styles as the previous decades, with more fringe on the costumes and more dancers starting to get into historical research, but several changes to the national context were starting. 8 of 11
The story of fusion belly dance as we know it today can be traced back to Jamila Salimpour and her classes and performances on the West Coast of the USA starting in the 1950s and 60s. Post 4 of 11
Interestingly, while Turkish dancers sometimes call the it raqs instead of oryantal dans, all the places bellydance is part of the vernacular party dance were once part of the Ottoman empire. Post 5 of 11
Our next style goes by many names! Sometimes called "American Cabaret", or "Am Cab" for short, "Vintage American", "Vintage Oriental", "American Restaurant", "Vintage Restaurant", "classic American", and even "Anatolian Cabaret" by those wishing to emphasize the influence of Greek, Turkish, and Armenian immigrants and artists on the style. Post 3 of 11
This post is to give students enough of an orientation to Lebanese style to get the lay of the land. You can probably tell by how much shorter than the others it is, but there is more to the story which you're better off learning from sources more focused on this style. |
AuthorLisa Lumina is the primary author of student readings. Guest authors are indicated on their posts. Archives
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