A |
|
Aie-Wa (EYE - wa) |
Arabic for “yes”. Often used as an exclamation when you “get”
something, i.e. a teacher is doing a move and you understand what she’s
doing, Aie-wa! or a dancer does a move really well, Aie-wa! |
Al Jeel |
Arabic “pop” music, evocative of the youth culture of Egypt.
|
"And" |
One of the hardest musical themes to describe. It's sort of a half note.
For example an basic 4/4 rhythm would be: 1 - 2 - 3 - 4.
With the half notes it would be: 1 - and - 2 - and - 3 -
and - 4. If you were doing a
¾ shimmy you would step on the whole count
(1-2-3-4) and your opposite hip would be going up and down on the "and". |
Arabic “C” |
Holding your hands with fingers spread and the thumb and middle
fingers almost touching, so that it looks like a C. |
Awalim
(a - WA - lim) |
Initially
(pre-1850) meant learned women. Wrote poetry, composed & played music,
improvised, sang. They also danced - for women only. Later meant only a
dancer/singer such was found in Muhammad 'Ali Street before 1940. |
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|
B |
|
Back Bend |
Bend knees slightly and lean backwards leading with the head.
Make sure knees are bent. This movement should be controlled by the
thighs, not the back or you may hurt your back. This position should
only be done either with your side facing audience or with your back to
the audience. |
Baladi (BAL - la - dee) |
Literally means "Country". Also beledi, balady. See also Dance and
Rhythm. |
Basic Egyptian |
Step onto a flat foot, bring the other foot to land in front
with the ball of the foot in contact with the floor (demi pointe), in
the hip drop position. Then step forward on the same foot and touch with
the first one. Make sure that after you touch you pick the foot up and
step forward with it rather than just dropping the heel down. Keep your
head at the same level; do not bounce up and down.
step touch
step touch
R L L R
This step may be done as above, but a hip drop is usually added
while you’re in the hip drop position. |
Bedleh (BED - la) |
The cabaret-style beaded bra, belt and skirt costume that bellydancers
are most commonly known to wear for a performance. In Egypt, law also
requires a body stocking. |
Belly Rolls
|
The isolation of the abdominal muscles and diaphragm. To do the
upward Belly Roll you would contract your diaphragm, then your lower
abs, then release your diaphragm, then your lower abs, so that it looks
like a wave. To do the downward Belly Roll you would contract your lower
abs, then your diaphragm, then release your lower abs, then your
diaphragm. You must learn to separate your diaphragm from your abs to do
these. |
Bint |
girl; daughter |
Bint
il-beled
|
"Daughter of the
country" - stereotyped as streetwise but modest, honorable and chaste. |
Body Contractions: Locks/Pops |
Locks and pops are generally used on the torso. A lock is when
you do a hard contraction. In order to do the contraction, the body part
must be slightly extended and is then brought sharply in. There are
generally 3 points on the front of the body that can be centers of
contraction: 1. the bottom of the breastbone, 2. just above the navel at
the waist, and 3. just above the pubic bone (hardest one to feel). Pops
are basically the opposite movement, however in order to do the pop, the
body part must be slightly contracted. While the contraction of the lock
may be held, when you do a pop you “pop” out and bring it back quickly. |
Body Figure 8 |
A movement, which adds the third dimension (front-back by
twisting) to the undulation. May be considered a twisting camel. The
chest leads in a figure 8 towards one side with the hips following a bit
behind, resulting in a pivot-change-release through the feet. Arms are
usually out or up. Doing it in the lower body only results in the
Egyptian hip twist-release. |
Body Wave |
Also called a reverse undulation. Start in a slight sit
position, then push your hips up through the torso sending a ripple
through the spine, rising up and ending in a chest lift. Your head
should be the last thing that moves. May be done smaller by initiating
higher up in the torso. |
Bounce |
Rising up partway on balls of feet to drop percussively onto
heels or dropping and straightening through the knees for a similar
effect. Often used in combination with a large hip circle for a
percussive, accented effect. |
Box Step |
This is the Jazz box step (as opposed the
ballroom box step)
Right crosses in front of Left
Left steps back
Right moves to the Right of Left
Step Left beside the Right
Step in place on the Right
May also be started with the left foot in
the opposite direction. May be done flat or Demi Pointe. |
Box
Step Pivoting
|
The Jazz box step done while turning in a circle. If starting
with the right foot you would circle to the right and vice versa. |
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|
C |
|
Camel Walk |
Undulation in combination with the step-together-step or
shuffle (flat-ball-flat) stepping pattern. Variations include the
alternating step (R-L-R, change, L-R-L, change); the down-up-up
(flat-ball-ball-ball). |
Chest Circle: Horizontal
|
Rib cage isolation in a circle using the chest slide (side-side
and front-back) positions. The chest circle goes smoothly through all
four positions, right side, back, left side and forward. This move is
done with the chest parallel to the floor. |
Chest Circle: Vertical |
Rib cage isolation in a circle using the chest slide
(side-side) and chest lift positions. The chest circle goes smoothly
through all four positions, right side, sink chest down, left side and
lift chest up. This move is done with the chest vertically like the face
of a clock. |
Chest Drop |
A percussive isolation of the chest (rib cage) by preparing
with a chest lift and then dropping the chest back to a neutral position
sharply and on the beat of the music. (Neutral meaning a normal,
unslouched posture.) Don't bring the drop into a caved in posture,
that’s a contraction. |
Chest Figure 8 |
A figure 8 pattern made by the rib cage. The chest moves front
to back through center at the cross of the 8. This can be done
horizontally (2-D using horizontal plane) but looks more interesting
done 3-dimensionally wherein as the ribs move back-side-front they go
into a lift like a banking turn of a roller coaster.
|
Chest Lift |
Chest (rib cage) isolation up and forward by lifting the chest
as if you took a deep breath. The lower body does not move. |
Chest Slide |
Horizontal isolation of the rib cage separate from the head and
lower body, which stay in line with each other. May be side to side or
front to back. Don't let it pull the hips from side to side. |
Choli
(CHO - lee) |
An Indian bare-midriff, backless blouse made popular in
bellydance by the Tribal movement. |
Choo Choo Shimmy |
A very fast scooting movement done on demi pointe, the feet
alternately inching forward very fast. Usually done with a hip shimmy.
|
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|
D |
|
Dance:
Beledi (BELL - uh - dee) |
Translates as “country”. It’s also the name of a 4/4
rhythm. Also Baladi, Beledy, Balady. Also a Middle Eastern Rhythm (see
Rhythm definitions) |
Dance:
Cabaret |
|
Dance:
Debke (DEB-kee) |
Folkloric circle and
line dance traditionally from Lebanon, Syria, Palestine, Jordan and
Israel, known for its many step combinations with foot stamping accents.
|
Dance: Guedra (GAY - dra) |
A ritual dance
ceremony performed by the Tuareg villagers of Morocco (Berbers), also
known as the blue people. |
Dance: Gypsy |
9/8: Originally
from Turkish/Macedonian styles. Several musical instruments can accent
this dance, including the tambourine, finger cymbals, and spoons. Other
variations are Dunyavi, Rom, Turkish Rom, |
Dance: Hagallah
(HA - gal - la) |
A folkloric dance of celebration performed by the Bedouin in Western
Egypt. Often performed during the date harvest, which is the wedding
season in that area. Hagallah is performed at weddings (leading the
Zeffa and at engagement celebrations. 'Hagallah' refers to the dancer,
the music and dance itself. The central element of the experience is
the dancer. She may be fully or partially veiled and moves in front of
the line of men, called kefafeen who stand, clapping and chanting in
unison. She does a steady, unwavering shimmy walk up and down in a line
in front of them, taking very small steps. She may have either a small
stick or a handkerchief in her hands. If it is a stick, it is just
held, not twirled or manipulated. |
Dance: Kaliji (ka - LEE - gee) |
Saudi Women's
Dance Comes from the Gulf Region such as Saudi Arabia,
Kuwait, and Bahrain as well as other Emirat countries. It is
traditionally performed by women tossing their hair and wearing a large,
T-shaped dress known as a thobe. Also Kaleegy. |
Dance: Melaya Leff (me - LAY - uh - lef) |
Playful
Alexandrian dance style using a black shawl (Melaya) as a prop. the
dancer usually is dressed in a short dress and wears high heels. The
Melaya is wrapped around the body to show it off. The dancer makes a
show of wrapping, unwrapping and re-wrapping the Melaya during the
dance. The dancer may also be chewing and popping gum (the only time a
dancer should have gum in her mouth!) |
Dance: : Raks
al Assaya
(ROKS - al - as - SI - ah) |
Stick (Cane) Dance from Upper Egypt. The cane dance is a charming and
fun folkloric dance. Egyptian cane dance can be traced back to
Pharoanic times and was originally a men’s combat dance. The women’s
version is playful and flirtatious. |
Dance:
Raks Sharqi (ROKS - SHAR - kee) |
Means "dance of the East", and refers to cabaret-style belly
dance as it is performed in nightclubs |
Dance: Saidi (SY - ee - dee) |
It’s an earthy style from Upper Egypt, often using a cane (raqs al
assaya) as a prop. The costumes are more covered, such as a baladi
dress. |
Dance: Saudi (SOW - dee) |
Dance incorporates tossing the hair from one side of the face to the
other (2 beats per side) and keeping the upper body and head loose and
softly swaying in a forward-and-back motion. The feet are front foot
flat, back foot ball and kind of shuffly. The traditional costume is a
thobe, |
Dance:
Schikhatt (shi - KAT) |
A particular style of dance, which originated in Morocco.
Originally, it was an erotic dance with exaggerated hip, stomach, and
breast movements used to educate a bride during the pre-wedding
festivities on how she will be expected to move in the marriage bed.
More recently, the Schikhatt has become a social dance that women do
with their families or female friends. |
Dance:
Tribal Style |
A style originated in America sometime referred to as American
Tribal. Usually performed as a troupe. Most recognized by the costume of
turbans, cholis, lots of coins and metals and tassels. |
Dance: Whirling
Dervish |
This is a
sacred ceremony dance where the dancer (or dervish) spins in a precise
rhythm. The purpose of the ritual whirling is for the dervish to empty
himself of all distracting thoughts, placing him in trance and by
releasing his body he conquers dizziness. |
Dance: Zaar |
Spiritual "trance" dance.
In some cases it can go on for many hours, until the dancers drop down
exhausted. |
Dance: Zeffa |
Wedding procession
lead by a dancer, musicians and members of the procession carrying
candles or lanterns. The dancer may also be wearing a shamadan.
Traditionally it occurred at night, winding its way through the streets
of the neighborhood from the home of the bride's parents to her new home
at the groom's house. In modern times, it’s just into the catering hall
or reception ballroom. |
Demi Pointe |
Refers to how far the heel is raised off the floor. For
Bellydance purposes it’s half-way between on your toes and flat footed. |
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|
E |
|
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|
F |
|
Fellahin (fa - LA - hin) |
Plural for Egyptian peasants or country folk. Singular is Fallah. See
also Rhythms. |
Freeze |
A really fast, small bounce through the knees that makes the
whole body tremble (keep the feet flat and do it through the knees or
you may get pains in your shins). |
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|
G |
|
Ghawazee (ga - WAH - zee) |
Refers to the tribe of Gypsies that settled in Egypt. |
Grapevine |
Sideways traveling step in which one foot always steps to the
side and the other foot alternates stepping across in front and across
behind.
Step right with the right
foot.
Cross the left foot in front
of the right foot.
Step right with right foot.
Cross the left foot behind
the right foot.
May also start with the left foot in the opposite direction.
May be done flat or on demi pointe. |
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|
H |
|
Habibi
(ha - BEE - bee) |
Arabic for darling or beloved one. It
is usually the masculine gender you hear in songs even though it is
usually addressed to a woman. |
Hafla (HOF - la) |
A party that may have dancers taking turns performing for each
other, and open-floor dancing for everyone or may be a full Bellydance
festival, with vendors and a more formalized show. |
Head Slide: Circle |
Continuous horizontal side-front-side-“back” motion of the
head. Don't turn or tilt and keep shoulders still. |
Head Slide: Front - Back |
Horizontal front-to-“back” motion of the head. You don’t really
slide your head back, you just return to a neutral position. Sliding
your head back is not a very attractive look. Don't turn or tilt and
keep shoulders still. |
Head Slide: Side - Side |
Horizontal side-to-side motion of the head. Don't turn or tilt
and keep shoulders still. |
Hip Circle: 2-Dimensional |
Circular isolation of the pelvis moving through the positions
of forward-side-back-side but without any up and down tilting of the
pelvis. |
Hip Circle: Omi - 3-Dimensional |
Circle the pelvis through the positions of (starting either
right or left) one hip up, pelvic tilt forward, opposite hip up, pelvic
tilt back. It’s a very tight and controlled movement. |
Hip Circle: One Hip - 2-Dimensional |
As in the hip drop, the heel of the accent hip is raised and
the hip makes a circle by flexing and extending the knee. The movement
is push hip back, lift hip up and then drop it down. May be reversed. |
Hip Circle: One Hip - 3-Dimensional |
Same as 3-dimensional hip circle except that one hip is
emphasized by raising one heel and emphasizing that hip, which also
makes the hips vertically asymmetrical.
Very small and tight. |
Hip Circles: Traveling (Sideways) |
Hip circles that use the “step-together” step to move sideways.
You step out on the front part of the circle and bring your feet
together on the back part of the circle. |
Hip Drop |
A vertical motion accenting one hip. Most of the weight is in
the supporting, bent leg with flat foot. The heel of the accent hip is
raised and the foot is on demi pointe. You start with the hip up and
drop it down. In the hip drop, the downward movement accents the
downbeat of the music (think down, down, down…). Should be done on a
diagonal to audience. |
Hip Drop Shimmy |
A very fast hip drop. The difference between this and the
regular shimmy is that one foot is on demi pointe and only one hip is
going. May be done facing or on a diagonal to audience. |
Hip
Drop-Release |
Add on to the hip drop. Most of the weight is in the
supporting, bent leg with flat foot. The heel of the accent hip is
raised and the foot is on demi pointe. You start with the hip up and
drop it down, but on every other down beat you release your foot as
you’re coming down (a little kick like you were trying to kick away a
cigarette but off the floor). The timing would be up, down, up,
down-kick. Should be done on a diagonal to audience. |
Hip Figure 8: Horizontal |
The hips describe a figure 8 horizontal to the floor with each
hip drawing one of the loops. Can be done in two directions: with the
leading hip reaching forward or reaching back. An essential part of
getting this figure is the rotation (twist) of the pelvis through the
middle of the eight. Practice just the twisting part to get the feel of
this. push one hip forward while pulling the other back, then switch |
Hip Figure 8: One Leg |
As in the hip drop, the heel of the accent hip is raised and
the hip describes a figure 8 lying on its side by flexing and extending
the knee and by allowing the pelvis to rotate forward and back. This
figure works better if the direction followed goes down through the
middle of the 8. This step can travel sideways by replacing the ball of
the foot at each hip scoop up-to-the-front and up-to-the-back. The flat
foot can shift at these points.
|
Hip Figure 8: Vertical Up |
Also called the called the reverse Maya. Add the vertical
dimension by lifting the heel off as the hip comes around from back to
front (don't let the other leg straighten or the figure 8 will flatten
out again). There is no front to back movement here. Hips should move as
though in between two panes of glass. |
Hip Fling |
A hip drop that “flings” front and back. Lift hip, drop back,
lift hip drop front. Should be done on a diagonal to audience. |
Hip Lift |
A vertical motion accenting one hip. Most of the weight is in
the supporting, bent leg with flat foot. The heel of the accent hip is
raised and the foot is on demi pointe. You start with the hip down and
lift it up. In the hip lift, the upward movement accents the downbeat of
the music (think up, up, up…). Should be done on a diagonal to audience. |
Hip Shimmy - Double: Half, Full-Time |
Two hip accents per weight change or step (this is the leg
doing the work!) This will go R-L-R, L-R-L so don't skimp on the second
hip accent, keep all the movements even or you'll lose the full
articulation of the movement. The second accent might be bigger and move
you slightly more sideways, but make sure it is still predominantly a
vertical motion, not a hip bump. Done at half time the hips move on
counts 1-2-3 and hold on 4. Done at full time the motion becomes a
shake-shake through the leg on each step. |
Hip Shimmy - Single, Basic |
An alternating up and down motion of the hips caused by a
pumping action of the legs. Always done with bent knees. Keep yourself
an inch shorter than your actual height by bending the knees. Keep the
knees moving straight ahead as they work--don't let them fall into your
center line and don't push them out to the sides. The knees do not
straighten completely (careful if yours hyperextend or you will cause
twisting and tilting in the pelvis. Do not lock you knees or it will
turn into a freeze. Keep the shoulders level and upper body still, but
without tension. The single shimmy is continuous, R-L-R-L. The regular
single shimmy looks different from the upside-down shimmy only when
traveling. When walking with the single shimmy, each step causes the
same hip to move upward in the same accent motion as in the stationary
shimmies. Don't let it twist or sway. |
Hip Shimmy - Upside-Down, Double |
Just like it sounds. It is a full-speed double shimmy with the
hip dropping twice on each weight change. See videos of Sohair Zaki for
a really good example of this step--it is her favorite shimmy
walk. |
Hip Shimmy: Egyptian |
This is the shimmy most Egyptian dancers do these days. An
alternating back and forth motion of the legs. This movement is done
basically with straight legs; however you still should not hyperextend
your legs back or you may hurt yourself. Let the movement transfer
through the whole body. You will feel it bouncing through you all the
way up your body. |
Hip Slide |
Move the pelvis smoothly from side to side in a horizontal
motion. The hips stay parallel to the front and do no not twist. Don't
allow one hip to lift higher than the other as in a shimmy. The pelvis
moves away from the center axis while the head and feet stay on the
axis. |
Hip Twist |
Horizontal twisting of the pelvis so that first one hip bone
then the other moves forward in a circular path Just like the "agitator"
in a top loading washing machine. Can be done stationary or traveling. |
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|
I |
|
Instruments: Argul (R - gul)
 |
A short melody
pipe with finger holes, and an adjacent longer drone pipe. The end two
pieces of the drone pipe can be detached to shorten the drone pipe and
alter the pitch of the drone. Each pipe has a free blowing reed. Both
are inserted completely into the mouth for playing. |
Instruments: Duduk or Mey (DU - dek)
 |
The Duduk or Mey is identical in Turkey and Armenia. Thumbhole, 7
fingerholes, a gigantic double reed, but an astonishingly mellow tone.
The instrument is about 14" long, and the reed adds another 4-1/2".
Sounds like an ethereal clarinet. |
Instruments: Doumbek (DUM - bek)
 |
The hourglass-shaped or
goblet-shaped drum
of the Middle East. The Doumbek is a Middle Eastern Hand drum,
originally played in Egypt, Turkey and Armenia. Also know as a Darabuka
(Turkish). |
Instruments: Kanun (KA - noon)
 |
A
musical instrument, common in Turkey and Arabic countries, which
somewhat resembles an autoharp. Its wooden frame is designed to lie flat
on a surface such as a table or the performer's lap, and
the fingers, clad
in picks,
pluck the strings
across it to produce the melody.
In the twentieth
century, the Turks improved the design by adding tuning keys to alter
the pitch of individual strings by eighth or quarter tones, thus
facilitating transposition. |
Instruments: Mijwiz
 |
Arabic for "dual", A double-pipe, single-reed instrument (sometimes
referred to as a "double-clarinet") popular in Syria, Lebanon, and
Palestine. It is predominantly used to accompany the
dabkah,
or line dance, at weddings and other festive celebrations. The
mijwiz
consists of two identical cylindrical cane pipes bound together with a
tar or beeswax coated string. Each pipe is fitted with a single
vibrating reed and produce a disctinct nasal sound. The instrument is
played continuously (without stopping) through a technique known as
"circular breathing", with the entire mouthpiece inside the mouth. |
Instruments:
Mizmar
 |
This instrument is
a member of the clarinet family comprising a single or double pipe. The
pipe (s) is made of wood, reed, ivory or bone and bound together with
strings, wax, metal or glue with 4 to 7 stops per pipe. |
Instruments: Ney
 |
Ney is Persian for
"reed" . It is the material from which the Ney, a wind instrument
from Iran, is made. It is an end-blown flute with seven finger holes.
Six in the front and one in the back. The Ney is made of a nine-segment
section of reed. (sometimes spelled as nay, or nai). It consists
of a hollow cylinder with finger-holes. Sometimes a brass or plastic
mouthpiece is placed at the top to protect the wood from damage, It
used in Turkish and Arabic folk music that resembles a flute both in
appearance and sound. |
Instruments: Oud
 |
The oud is the Middle Eastern lute from which all European lutes evolved.
Commonly used in Arabic, Turkish, and Armenian music, it has 11 strings and no
frets.
Today the oud is very popular all the way from Morocco to Istanbul.
Turkish instruments (known for their rich bright sound) are the most
prized of all ouds. |
Instruments: Rebaba
 |
An
Egyptian string
fiddle,
typically used in music of the Said (Upper Egypt). It may have one or
two strings. |
Instruments: Riqq
 |
Similar
to the tambourine and a main component of the traditional Turkish,
Persian and Oriental percussion. The instrument consists of a beech
frame, as well as 20 brass bells, and is coated with a thin and hard
goat skin. Also Reque. |
Instruments: Saz
 |
Turkish Long Neck
Lute. The Saz is the grandfather of the Greek Bouzouki. It originated in
Central Asia where Turks lived before their westward migration. Like the
guitar in Spain and the bouzouki in Greece, the Saz is the most popular
stringed instrument in Turkey. Although similar in shape to the Greek
Bouzouki, the construction, size and sound of the Saz is different. You
need a baglama saz to be able to play the microtones (Perde) of Arabic
music. These instruments have traditional tied frets that are movable,
and 3 courses of strings. |
Instruments: Tabla
 |
A pair of
drums. It consists of a small right hand drum called dayan and a larger
metal one called bayan. The dayan (right hand drum) is almost always
made of wood. The diameter at the membrane may run from just under five
inches to over six inches. The bayan (left hand drum) may be made of
iron, aluminum, copper, steel, or clay; yet brass with a nickel or
chrome plate is the most common material. Undoubtedly the most striking
characteristic of the tabla is the large black spot on each of the
playing surfaces. These black spots are a mixture of gum, soot, and
iron filings. Their function is to create the bell-like timbre that is
characteristic of the instrument. |
Instruments:
Zills
 |
Turkish name for
finger cymbals. An early Asian percussion instrument often used by
female dancers. They are small non-pitched cymbals that are commonly
attached to the thumb and middle finger of one or both hands and struck
together in a specific rhythmic pattern. The Arabic name for finger
cymbals is Zagat or Sagat. |
Instruments: Zurna (ZER - na)
 |
Arabian double
reed folk oboe found in Turkey, south-east Europe and parts of Asia. A
very loud instrument with one and a half octaves and played with a
continuous blowing technique. May be compared to a primitive oboe from
the Middle East. |
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|
J |
|
Jewel Step: Egyptian Hip Twist |
I’m looking for a way to explain this step. If anyone has any
suggestions please email me! |
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|
K |
|
Khaliji (ka - LEE - gee) |
In
Arabic, this word means "gulf", and belly dancers use it to refer to the
style of music and dance from the Persian Gulf/Arabian peninsula
area--Saudi Arabia, Kuwait, Bahrain, Qatar, United Arab Emirates, and
Oman. Also Khaleegy. |
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L |
|
La |
Arabic for No |
Lame Duck |
So called because it resembles limping. Traveling sideways, the
leading foot (or trailing) is on demi pointe and the other foot is flat
making the hips unlevel. Looks like you’re stepping over something as
you step sideways. Used for traveling hip drops or hip lifts or
traveling hip sway. |
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M |
|
Maghreb (MA - greb) |
Used to describe
Libya, Tunisia, Algeria, Morocco. Sometimes used to just describe
Morocco. |
Maqam (MA - com) |
The way tones are
arranged in Arabic music. Similar to a western scale but using
quartertones and having associated emotional quality. There are about 90
different modes. |
Marhaban (MAR - ha - ban) |
Means Welcome or Hello. |
Maya (MY - a) |
An infinity sign movement of the hips in the vertical plane.
The direction goes hip up the middle, out to the side and down. You can
do this on one side or alternate hips. Hips should move as though in
between two panes of glass. Really bend the knee of the hip you are
pulling down while the other leg extends. You should be able to do it
flat-footed. |
Melaya (me - LAY - uh ) |
Large black woolen
wrap worn by bint il-beled in old Cairo. Can be pulled tight to
display figure and wrapped and unwrapped. Stage versions are synthetic
with sequins and can also be manipulated. It is not used like a
veil, |
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N |
|
Na'am |
Arabic for Yes |
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|
O |
|
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|
P-Q |
|
Pelvic Tilt: Back And Forth |
The forward-backward motion of the pelvis. The legs should be
bent to allow range of motion in the hip sockets. As the pelvis is
tucked (pubis and coccyx come forward), the hip sockets extend (open),
as the pelvis is tilted (coccyx reaches back, hip bones drop forward),
the hip sockets flex (the front of the hip bone comes closer to the
thigh). |
Pelvic Tilt: Drop |
Get in the pelvic tuck position and then drop your pelvis down
by relaxing your muscles. Again, think down, down, down. |
Pelvic Tilt: Lift |
Get in start of the pelvic tuck position and then crunch your
pelvis up. Again, think lift, lift, lift. |
Pelvic Tilt: Tuck |
Stand with knees slightly bent and crunch pelvis up towards
torso. You crunch the pelvis by squeezing up and pulling in your lower
abs. Make sure the pelvis goes up, not front. |
Piston Hips |
A hip drop that usually travels sideways. Usually (and more
easily) done on your toes, but may be done flat footed. May emphasize
one hip (the leading hip) or may alternate hips evenly). |
Pivot (See Also Pivot Turn) |
Turning from front to back on yourself by leaving the ball of
the pivoting foot in one place while you step with the other foot.
Right pivot:
Feet start together
Step forward with right foot,
leaving left foot down and turn facing back
Step forward again with right
foot, leaving left foot down and turn facing
front
Left pivot starts with the left foot. |
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R |
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Raks (ROKS) |
Arabic word for dance or dancing. Also Raqs. |
Rhythm:
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About Rhythms: Middle Eastern rhythms are usually defined by Doms and
Teks (or Taks). A Dom is the heavy sounding bass beat. A Tek is the treble beat
and sounds like a “pop”. These beats can be played as is or they may
have an “and” (see glossary) in them. Usually it’s the Teks that have an
“and” and I have used Teky described these beats. Also important are
Rests. Rests are places in the music where nothing is played. (For
example a simple 4/4 rhythm would be 1-2-3-4 1-2-3-4 with a Rest it
could be 1-2-3-R 1-2-3-R or 1-R-3-4 1-R-3-4 for example. To get the
feeling say the numbers aloud and where there is an R, don’t say
anything.). A good place to hear the actual rhythms is
Jas's-- Middle Eastern Rhythms
site. |
Rhythm: Beledi (Sagir) (BELL - uh - dee) |
Beledi is a commonly requested dance rhythm - just about everyone knows.
"Beledi" can mean different rhythms depending on where you are. "Beledi"
is the dance of the country folks. This version, more correctly called
Masmoudi Saghir ("Small" Masmoudi) is perhaps the most common "Beledi"
rhythm. If you look closely you will see that it is really a Masmoudi
"squeezed" into 4/4 time.
Basic rhythm:
Dom - Dom - Tek -
R- Dom - Tek
Variation:
Dom - Dom - Tek -
Tek - Dom - Tek - Tek Variation:
Dom - Dom - Teky -
Tek - Dom - Teky - Tek |
Rhythm:
Chiftetelli (shif - ta - TELL - ee) |
Refers to a certain Turkish drum rhythm which is in 8/4 time,
which may be played--as a fast, spirited, upbeat song or as a slow,
hypnotic, sensuous melody. When bellydancers refer to Chiftetelli, they
are usually thinking of the slow Chiftetelli, which they may use for
floor work, balancing, or standing undulations.
Remember when
playing this rhythm that silence is a note. It is characterized by
strong accents.
Basic rhythm:
Dom - R-Tek - R - Tek - Dom - Dom - Tek |
Rhythm: Fellahi (fe - la - hee) |
This rhythm is a
used as "background" beat in Arabic folkloric music and is commonly
found in music of Upper Egypt. Fallahin is usually played faster than
Maqsoum (about twice as fast, actually) and is considered a 2 beat
rhythm. "Fallah" is another word for country-folk or country people.
It is used to
accompany folk dances. Fallahi is played so fast there is little room
for subtlety or frills.
Basic rhythm:
Dom - Tek - Dom
- Tek |
Rhythm:
Karatchi (ka - RAH - chee) |
A
fast 2/4 like an Ayoub. It's used in modern Egyptian music and sometimes
alternated with similar rhythms as part of a song. Karachi (like Ayyub)
is a rhythm common in American Tribal music.
The rhythm pattern is similar to a fast Ayoub, but with
Doms and Teks reversed.
One of the few rhythms that starts on the Tek instead of the Dom. Usually played fast
Basic rhythm: Tek
- R - Tek - Tek - Dom |
Rhythm:
Karsilama
(KARSH - la- ma) |
A Turkish musical rhythm, in 9/8. This means there are 9 beats
to a measure, and an eighth note gets one count.
Karsilama (Turkish
for "face-to-face") is perhaps, the most common "odd count" rhythm in
Middle Eastern music. It is very common in Turkish tunes and can
be played very fast, or very slow,
Basic rhythm: Dom -
Tek - Dom - Tek - Tek - Tek |
Rhythm: Malfuf (MAL - foof) |
A fast-paced rhythm usually used as entrance or exit
rhythm for dancers.
Basic rhythm: Dom -
Tek - Tek |
Rhythm:
Maqsoum (MOK - soom) |
Maqsoum (which
means, "cut in half") is really a whole class of rhythms that fit in a 4
beat measure. Said by some to be the foundation of Egyptian rhythm,
it's quite basic to Middle Eastern rhythm. Maqsoum, in its simplest form
and with lavish embellishment, is the essence of Middle Eastern
percussion in its traditional sense.
Basic rhythm: Dom - Tek -
R - Tek - Dom - Tek |
Rhythm: Masmoudi (mas - MOO - dee) |
A rhythm in 8/4
time. The Masmoudi rhythm is characterized by the joining of two 4-beat
phrases. Often the first phrase has three leading beats, sometimes only
two. This rhythm can be considered a Baladi played at half tempo, or
conversely a Baladi can be considered a Masmoudi played at double speed.
For this reason, Masmoudi is sometimes called Masmoudi Kabir (big
Masmoudi) while Baladi is called Masmoudi Saghir (small Masmoudi).
However, the feeling is completely different from that of Baladi. There
are numerous variations.
Basic rhythm: Dom -
Dom - Dom - Tek - Dom - Tek - Tek
Variation: Dom - Dom - Dom - Tek - Tek - Dom - Tek - Tek - Tek - Tek |
Rhythm: Saidi (SY - ee - dee) |
Saidi is a rhythm often used for a cane dance. The beats can be varied
dramatically or replaced with other percussion (such as hand clapping)
to give the rhythm a distinct sound.
Basic rhythm: Dom -
Tek - R -
Dom - Dom -
Tek |
Rhythm: Saudi (SOW- dee) |
Rhythm of
the Gulf region, "Saudi Arabia," this also called "Kaleegy/Khaleegy."
While usually played slowly, the accents are placed on Dom.
Basic rhythm: Dom - Dom -
Tek |
Rhythm: Waahida (WAH - hee - da) |
Arabic for "one". Waahida is a family of rhythms with one Dom at the
beginning, then goes on with Teks.
Basic rhythm: Dom -
R - Tek - Tek
- Tek - Tek |
Rhythm: Zaar |
Zaar (Ayoub, Ayyub) is a simple fast rhythm often played for
accelerating or energetic sections of Middle Eastern Dance performance.
It is a driving rhythm that usually goes faster and faster. Ayyub fits
well within other rhythms and can be generally useful as an accent. It
is played in areas of the Middle East from Turkey through to Egypt. It
is used in a slow form for a tribal Egyptian trance dance also known as
the Zaar.
Basic rhythm: Dom - R
- Tek - Dom - Tek |
Rhythm: Zeffa |
Wedding procession
lead by a dancer, musicians and members of the procession carrying
candles or lanterns. The dancer may also be wearing a shamadan.
Traditionally it occurred at night, winding its way through the streets
of the neighborhood from the home of the bride's parents to her new home
at the groom's house. In modern times, it’s just into the catering hall
or reception ballroom. Basic rhythm: Dom -
Tek - Tek - Tek
- Tek - Dom - Tek - Tek |
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S |
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Saidi (SY - ee - dee) |
Refers to anything that has to do with the Said region of
Egypt. The Said region is also known as "Upper Egypt", and is located in
the southern part of the country. |
Saudi (SOW- dee) |
Often used to refer to anything that has to do with the region
of the Saudi Arabia peninsula, especially the musical rhythm that is
particularly associated with this region. |
Serpentines |
Like the undulation but different in that it moves side to side
in an S-curve through the spine like a snake. Can be focused in the
upper body, lower body or both. Don't allow any twisting forward and
back or the serpentine will turn into the body figure 8 (twisting
undulation). Movement should be as though in between two panes of glass. |
Shamadan |
A large, ornate candelabrum worn on the head. |
Sharmouta |
Woman of ill repute; whore. |
Shimmy: ¾ Hip Shimmy |
Shimmy, usually done while traveling. Step on right foot, lift
left hip up, then down. Step on left foot, lift right hip up, then down. Keep stepping alternating hips. |
Shoulder Rolls |
The shoulder makes a complete circle, up, back, down, front.
Shoulder rolls are the basis of snake arms. As a dance movement, always
roll them backward. Shoulder rolls are a good exercise for rounded or
uneven shoulders. |
Shoulder Shimmy |
An alternating forward and backward motion of the shoulders
with the hands staying in one position as if you were holding a glass of
wine in each and didn’t want to spill any. Done really fast it become
essentially a breast shimmy. |
Shoulder Slant (Tilt) |
One shoulder comes up, while the opposite shoulder goes down. |
Shuffle: Alternating Sides |
May be used in the Camel walk and is often used in quick-time
as an entrance walk.
R
L
R
(change)
L
R
L
(change)
step
behind
step
step
behind
step
|
Shuffle: Unilateral |
Doesn't change sides. Used primarily in the Camel walk or
traveling sideways.
R
L
R
L
R
L
step
behind
step
behind
step
behind |
Shukran (SHOO - kran) |
Arabic for thank you. |
Snake Arms |
Done to the sides or front. Practice sides as this is harder.
Elbow leads up, forearm hanging vertical, wrist relaxed
and palm facing in (not back!) until elbow reaches shoulder height then
upper arm rotates to point elbow down as forearm flips up to side (not
front!) with palm facing out as elbow leads down. Can be done
symmetrically or with one elbow leading up as the other leads down. Try
them in different sizes (see shoulder rolls). Don't take elbows above
shoulders (lower if you are really tight--work where you can control it
to improve flexibility) or your shoulders will end up around your ears
and you'll loose whatever neck length you have. |
Souk (Suk) |
Arabic name for market in a city or village. Also
suqq. |
Spotting |
Focusing on a fixed point through a turn. Allegedly
J
helps to not make you dizzy while turning. |
Step-Hop |
Folkloric step used in cane dances. Step on one foot and then
hop on it while swinging the other leg up to the front with a bent knee.
Alternate sides or continue on same side. Can be done traveling or in
place. |
Step-Together |
Sideways traveling step where you just step the legs apart with
one foot and then bring the other in to meet it. Good for traveling hip
circles sideways. |
Sufi (SOO - fee) |
A sect within Islam focused on philosophy and mysticism. One
Sufi form of expression that most Westerners have heard of is the
"whirling dervish". The whirling is a form of movement meditation. |
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T |
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Taksim (TOK - seem) |
Arabic for "division" and refers to the section of music where a
specific instrument is playing a solo. It’s the improvisational slow
part of the dance where the dancer performs intense sensuous movements
to the melody of a single instrument, usually the oud or kanun. Also
Taqsim. |
Thobe (THOB) |
A traditional dancing dress of the Saudi Arabian
peninsula. |
Tummy Flutter |
A fast, in and out, vibratory movement of the diaphragm. Can be
done by panting or by holding your breath and pushing in and out on
diaphragm. |
Turkish Drop |
Several very quick spins followed by dropping to the floor on
knees in a back bend. CAN BE VERY DANGEROUS IF YOU DON’T KNOW WHAT
YOUR ARE DOING. You must land correctly and gently. I highly
recommend having a teacher instruct you on this if you don’t know what
you are doing. |
Turn: 3-Step Turn |
R,L,R, together; L,R,L, together |
Turn: Matador Turn |
Place one foot over the other as far back as you can and
quickly spin around on the balls of both feet. |
Turn:
Paddle Turn |
A turn around on one foot. Make one foot your “center” and push
around yourself using the other foot (as if you were on a skateboard).
The “center” foot does not move. |
Turn: Pivot Turn |
A quick turn on one foot. Just lift the heel of the pivoting
foot to allow it to turn. |
Turn: Wheelbarrow Turn |
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U |
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Undulation |
May also be called a camel. Lift your chest and pull it back.
As your chest comes back, push your stomach forward and then pull it
back. As your stomach comes back, push your pelvis forward and then pull
it back. This should be done so as to look like a ripple effect. |
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V |
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W |
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X-Y |
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Yalla |
Arabic for Come on! or Let'sgo! |
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Z |
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Zaghareet
(za - ga - REET) |
A high-pitched call done with the tongue. It is a sound of
celebration associated with weddings, parties, and other joyful
occasions. Within the context of belly dancing, it is a favorite tool
for expressing approval for whatever the dancer is doing at the time.
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