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Chapter 10 From Baladi to Belly Dance: Rhythm, Dance, and Music in Egypt and Beyond. Introduction. This chapter is about women ’ s solo dance traditions of the Middle East and their music, centering primarily on Egypt. There are three domains of dance:
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Chapter 10From Baladi to Belly Dance: Rhythm, Dance, and Music in Egypt and Beyond
This chapter is about women’s solo dance traditions of the Middle East and their music, centering primarily on Egypt. There are three domains of dance: • Raqs baladi is “folk dance,” and encompasses the traditional styles associated with women’s social gatherings and rituals. • Raqs sharqi, or “oriental dance,” is the professional entertainment medium of women’s dance, usually associated with weddings, nightclubs, and cabarets. • Belly dance is the generic term used in the West to describe all Middle Eastern and Middle Eastern-derived forms of women’s dance.
The Arab Republic of Egypt is located in northeastern Africa and has a population of over 70 million. The Arabic language and Islam are unifying features, and there are broad similarities between this area and the rest of the Middle East. • Large diasporic Arab populations in North America, Europe, and elsewhere connect Middle Eastern nations culturally and politically to other regions.
Ancient Egypt and the Rise of Arab-Islamic Culture • The Ancient Egyptian civilization was established approximately 5,000 years ago and flourished for over 2,000 years. Many of the foundations of modern societies—agricultural cultivation, city-states, writing, arithmetic, geometry, astronomy, architecture—have their roots in Ancient Egypt. • Ancient Egypt declined around 1070 BCE and succumbed to a series of invaders. Around the 7th century CE, Egypt became part of a large Arab-Islamic empire.
The modal system of the maqam has existed for many centuries. It uses a palette of pitches and employs as many as 24 per scale. Musical performances normally begin and end in the same maqam, but may travel or modulate throughout. • The takht ensemble consists of five instruments: the ‘ud, the qanun, the nay, the violin, and the riqq. • CD ex. #1-15 featured maqam-based music performed by a takht ensemble.
The ‘ud is shaped like a half pear and uses five pairs of strings, which are plucked or strummed. • The qanun is a plucked zither with a trapezoidal shape. • The violin is played under the chin as in conventional Western style, but in Morocco is often balanced vertically on the left knee and bowed like a cello. • The nay is a type of end-blown flute made typically from bamboo or cane. • The riqq is an Arab tambourine.
Insights and Perspectives • Iraqi Rock: Acrassicauda’s • Only the Dead See the End of the War
Acrassicauda is a heavy metal band formed in war-torn Baghdad, Iraq. It rose to fame as the subject of a 2007 documentary entitled Heavy Metal in Baghdad, produced by Spike Jonze. • In 2006, the members of the band fled Iraq and settled in the United States. Lorraine Ali notes, “Acrassicauda does have one advantage over most heavy-metal groups – its members have actually lived the words they scream and growl. War is common fodder among thrash bands, but when [lead singer] Mustafa rails in ‘Message From Baghdad,’‘Is it God’s will or just a lie?/People live and others die/Never had the chance and they never will/Forever doomed as I wonder why,’ it’s full of an urgency and realism rarely heard in rock music today.”
The Ghawazi Tradition • Ghawazi are hereditary families of dancers, and their dance lineages track back several generations. • The term ghawazi originally referred to a hereditary class of dancers, but is now applied to virtuall all professional female dancers in Egypt and throughout the Middle East. • The word means “outsider” or “invader,” impying that the female dancer who dances in the company of men for profit is a figure tied to marginality.
The Zaar Ritual • The cultural performance known as the zaar intrigued many foreign visitors to Egypt from Europe. It is an ancient healing ritual rooted in shamanistic practice and involving spirit possession and trance. • Zaar is mainly a domain of women, though men may participate, especially as musicians.
The zaar ritual centers on the power of the jinn, a magically empowered spirit being. Women are viewed as susceptible to possession by a jinn, and if possessed, will be afflicted by illness. A zaar ritual is one method of convincing a jinn to depart a possessed woman. • Negotiation with the jinn is handled by the woman who leads the ceremony. She strikes her large frame drum and strikes it against herself to induce a state of trance. • Music is crucial to the zaar ritual, and the correct songs and rhythms must be performed to convince the spirit to depart. The afflicted woman enters a state of trance and dances the spirit out of herself, employing a violent and unrestrained style of dance.
Musical Guided Tour • Demonstration of Dum and Tek Drum • Strokes • Follow along with the transcript on page 292 of the text as you listen to the audio Tour for this chapter, which is • CD ex. #4-13 of the text’s accompanying 4-CD set.
Music, Dance, Nationalism, and Mass Media Entertainment in 20th-Century Egypt
In 1920, the Egyptian people were engaged in a revolutionary struggle for independence from British rule. Music and musical theater figured prominently in this struggle. • Balance was desired between that which was authentically Egyptian-Arab, that which was new and useful, and that which succeeded in living up to political and cultural challenges.
The Contributions of Badiaa Masabni • Badiaa Masabni contributed much to Egyptian women’s dance. Under the reign of King Faruq beginning in 1922, women’s dance at casino-theaters became enormously popular. Masabni was a great syncretizer and modernizer, and she used the arms and torso prominently in her cosmopolitan, foreign-influenced dance vocabulary. Additionally, larger floor spaces were now employed than previously. • In the lavish Casino Badiaa theater, the Hollywoodesque “Oriental” dance costume– sequined bra, bare midriff, and a low-slung skirt–became the norm, along with music combining Western and Arab elements to accompany the dance shows.
Dance, Music, and the Egyptian Film Industry • The Egyptian film industry emerged in Cairo in the late 1920s and the city’s huge mass media entertainment industry grew. The films used romantic plot lines, glamorous characters, and grand dance spectacles featuring thickly orchestrated music. • Virtually all prolific artists in Egypt became stars of the film and stage. Distinctions between “high art” and “popular entertainment” were not strongly emphasized in Egyptian culture.
Muhammad ‘Abd al-Wahhab and Samia Gamal • Egyptian media stars experienced a golden age from the 1930s to the 1960s. • The composer Muhammad ‘Abd al-Wahhab began as a singer and soon became a film actor, composer, and producer. He wrote for Umm Kulthum and is widely regarded as “the greatest Arab modernist of the twentieth century” in the area of music. • The dancer Samia Gamal was reportedly the first Egyptian dancer to use a veil, danced in high heels, and syncretized Western and Middle Eastern techniques.
Insights and Perspectives • Accidental Innovations
Some of Samia Gamal’s dance innovations were humorously happenstance. • She was encouraged to dance with a veil by a ballet teacher from Russia with whom she worked, who felt that holding a veil would improve her arm carriage. Due to her influence, veil dancing became common to the style. • As for wearing high heels, Gamal, who was raised in poverty, claimed she started doing it by virtue of the simple fact that she could afford the shoes and wanted people to know it. Again, she was widely emulated, so that dancing in heels became common after Gamal.
Egyptians in the 1950s grew weary of King Faruq and what they considered his puppet monarchy. Britain’s continuing stronghold over Egypt continued, and the Jewish state of Israel was declared in 1948. Faruq’s failure in the 1948 war against Israel devastated Egyptian national pride. • Egypt’s “bloodless revolution” took place in 1952, led by the Egyptian military commander Gamal ‘Abd al-Nasser. Faruq and the monarchy fell, British troops departed, and the Arab Republic of Egypt was declared in 1952.
Cultural Nationalism and the Baladi Folk Ideal in Post-Revolutionary Egypt • ‘Abd al-Nasser’s cultural nationalism promoted Egyptian baladi, or “folk” culture. There were ambitious initiatives aimed at preserving and cultivating “authentic folk culture.” Much music, dance, and folk ritual flourished. • The world of professional female dance entertainment suffered greatly. Growing anti-Western sentiment and the institution of Arab-Islamic mores contributed to the closing of many entertainment establishments. • Muhammad ‘Abd al-Wahhab and Umm Kulthum benefited under ‘Abd al-Nasser’s patronage as they were touted as icons of the “common Egyptian people.”
Farida Fahmy and the Reda Troupe • In the late 1950s and throughout the 1960s, Farida Fahmy transcended the conventional image of the Egyptian female dancer and rose to national fame. She was the star dancer of the Reda Troupe, a pioneering folkloric group. • Fahmy and her troop were promoted by ‘Abd al-Nasser and were showcased at events to emphasize “the integrity, validity, and artistic worth of indigenous Egyptian culture….” A certain irony is present in the prevalent influence of Western aesthetics in the Reda Troupe’s approach.
Folk Dance Rhythms in Raqs Sharqi and Belly Dance • Folkloric groups like the Reda Troupe had great influence over the world of raqs sharqi and international belly dance. Many folk dance rhythms featured in their shows became commonplace across the spectrum of raqs sharqi and belly dance. • Fallahi is an upbeat rhythm used to accompany songs of celebration. It is lively and played in a quick, two-beat tempo. Saaidi connotes the traditional folk culture of certain regions of rural Egypt and is associated with an Egyptian martial art known as tahtib.
Tahtib opponents wield a long, thick bamboo sword or stave. It functions more as a pastime than true combat, and strict rules ensure avoidance of injury or death. • Raqs bil-’asaya, or dance with stick,is commonly performed before or after a tahtib match. It allows players to demonstrate skill and musicality. • Women perform a version of this dance, as well. The women’s cane dance is derived from tahtib, and is a playful parody of the martial arts form.
Tabla Solo is a genre of solo dance, first popularized by the Egyptian dancer Nagwa Fu’ad and her tabla accompanist Ahmed Hammouda in the 1970s. (Note: Do not confuse Egyptian tabla with Indian tabla of Ch. 8) • Today, it is typical to include a Tabla Solo number as a standard feature in raqs sharqi and belly dance performances, often as the climactic number of the routine.
Tabla Solo in a Raqs Sharqi Dance Routine • In the Tabla Solo dance, the dancer and the solo tabla player (or the dancer and an ensemble of percussionists led by its tabla player) engage in a playful duet. • The dancer stands next to the tabla player and moves specific body parts in reaction to the complex musical rhythms. • There is no leader or follower. The musical conversation between the performers is humorous and flirtatious, and reactions from the audience can inspire additional playfulness.
Contemporary belly dance music and its culture are profusely international and cosmopolitan. • Hossam Ramzy, whose music is featured throughout the chapter, co-created and produced the clever arrangement of “La Cucaracha” heard in CD ex. #4-22 (the opening segment is heard in CD ex. #4-21). Note the malfuf rhythms and Arab-Egyptian percussion. • CD ex. #4-23 features “Hou Hou Hou” by Emad Sayyah, a Lebanese composer (now based in Vienna) who creates intercultural music. He combines traditional Middle Eastern instruments with a wide array of Western instruments, and weaves Middle Eastern dance rhythms into rock, jazz, funk and Latin-tinged grooves.
