Instrument of the Week
The rebaba is associated with the Said, that is, upper Egypt, although it originated sometime before the 700s at which point is was found in the Arabic Peninsula and Iran. That means it is a Saidi instrument (the suffix "-i" indicates possession in Arabic). The rebaba players in these clips are wearing traditional Saidi and rural Egyptian clothing.
The rebaba is associated with the Said, that is, upper Egypt, although it originated sometime before the 700s at which point is was found in the Arabic Peninsula and Iran. That means it is a Saidi instrument (the suffix "-i" indicates possession in Arabic). The rebaba players in these clips are wearing traditional Saidi and rural Egyptian clothing.
| OLD SCHOOL | A fun back and forth with violin and rebabas |
Prop of the Week
Some more info on cane (assaya), this week, it's use in Saidi Style. This is the style most bellydancers associate with cane, but again, it is not the only one. In this context, cane dance comes from an ancient (Pharaonic era) martial art. Tahteeb is now done in a sporting way, with strict rules to the contest. From this cultural root, Saidi style cane dancing gets its distinct flavor. Also referenced in Saidi style is the horse dancing that is popular. And I think it's important to note that the horses are highly prized.
Mahmoud Reda's Troupe researched the dances of different regions of Egypt and created stage versions that were heavily influenced by his love of Fred Astair and Ginger Rogers' films, and made to create a good stage show, to present something the people could feel proud to see themselves as, and in many cases in a way that protected the privacy of the people who let them into their homes to learn their dances. The women's Saidi style in the choreographies is fairly different from how Saidi women probably dance, but the men's style is so accurate that people could tell who his teacher was. This is something we'll talk more about in the folklore thread.
Bellydancers (especially Cairo based ones) perform with cane in reference to the Said, but it will have their own artistic interpretation based on their tastes and what will appeal to their (Cairo) audiences. In this context bellydancers, including women, might be more or less removed from the folklore, and have a more flirty feminine attitude or a sort of gender bending (performers can get away with it) masculine attitude. (Gender in Middle Eastern dance is a WHOLE other topic!) Some bellydancers will hire folkloric dancers to perform in their shows, I think this trend was started by Naguwa Fuoad.
In the Said, it is a tool and a weapon, and something one dances with out of joy. As a prop outside the region is can be a way to show off and is a favorite for bellydance audiences.
Some more info on cane (assaya), this week, it's use in Saidi Style. This is the style most bellydancers associate with cane, but again, it is not the only one. In this context, cane dance comes from an ancient (Pharaonic era) martial art. Tahteeb is now done in a sporting way, with strict rules to the contest. From this cultural root, Saidi style cane dancing gets its distinct flavor. Also referenced in Saidi style is the horse dancing that is popular. And I think it's important to note that the horses are highly prized.
Mahmoud Reda's Troupe researched the dances of different regions of Egypt and created stage versions that were heavily influenced by his love of Fred Astair and Ginger Rogers' films, and made to create a good stage show, to present something the people could feel proud to see themselves as, and in many cases in a way that protected the privacy of the people who let them into their homes to learn their dances. The women's Saidi style in the choreographies is fairly different from how Saidi women probably dance, but the men's style is so accurate that people could tell who his teacher was. This is something we'll talk more about in the folklore thread.
Bellydancers (especially Cairo based ones) perform with cane in reference to the Said, but it will have their own artistic interpretation based on their tastes and what will appeal to their (Cairo) audiences. In this context bellydancers, including women, might be more or less removed from the folklore, and have a more flirty feminine attitude or a sort of gender bending (performers can get away with it) masculine attitude. (Gender in Middle Eastern dance is a WHOLE other topic!) Some bellydancers will hire folkloric dancers to perform in their shows, I think this trend was started by Naguwa Fuoad.
In the Said, it is a tool and a weapon, and something one dances with out of joy. As a prop outside the region is can be a way to show off and is a favorite for bellydance audiences.
| A Tahteeb match | Horse dancing, notice the trio of mizmar players | The Reda Troupe's Saidi number |
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| Mona Said, doing a feminine cane dance | Lucy, with folkloric dancers flanking her | A Russian group, doing a theatrical piece on pop music |
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| Modern style is more forceful | A fun duet | Men can use it to show off |
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Song of the Week
Kariet el Fingan, a classic song, the title means "the fortune teller". Here is the Lyric Translation.
Kariet el Fingan, a classic song, the title means "the fortune teller". Here is the Lyric Translation.
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