Badaweyah Dance Philosophy

In My opinion, there is only one wrong way

of doing this dance,

whether it's socially or as a performance,

and that is ignoring its primary conduit...

the music.

We have all come to our own philosophies of what this dance is, but because of its evolution to "Modern Raqs Sharqi", "Belly Dance", "Tribal", "Fusion" and so forth we have ignored what it is and how to simply define it, which is lyrical and interpretive. My first encounter with Raqs Sharqi culture was not the dance. It was one of the many off springs of Abdou Al Hamouli...

We all have our own influences, and while today most performers and schools are influenced by Nagwa Fuoad or Soheir Zaki. For me, Taheya Carioca has to be the antecedent of what Raqs Sharqi is today. There is not much footage that we can locate before the 1920’s, so we rely on the wisdom of those we have gathered information from.

Although expressive and liberating, Ballroom Dance which is a conglomerate of some of the Jazz moves mentioned above, is actually a bit more strict and limiting which require a great deal of discipline. Not as disciplined as Ballet, which primarily focuses on symmetrical movement with the intent to show grace while interpreting a story. In the late 15^th century in Italy, Ballet was actually performed to interpret fencing. You will find most dancers embracing Ballet to improve grace, posture and strength, but Ballet is no where near as expressive as Modern dancing. Something completely personal, unique and adversative, coexisting in this surreal movement of images relating to life, art, history or a reflection. Amongst all of the dance forms, Raqs Sharqi still stands uniquely alone. I have never found a dance that demands such personal interpretation in either social or performance circles. As an interpreter, you can simply sneak in with the Oud, glide in with the Violin or simply appear with the Drum. This lyrical dance is based on the lyrics of the music, instrumental or not. It's incidental. You are the missing instrument. If Umm Kulthum is asking "why", repeating it from her bewildered soul, as she's wont to do, you as the interpreter want to express that lyrically. That would be the moment to ignore the rhythm and express the melody, the inflection in her voice of her need to know that answer.

We can possibly agree that most Western dance is motivated by the music. Jazz holds a major influence in the West, musically. And, there were an array of "moves" that were driven from or to this musical form. The rag, Charleston, and the fox-trot, to name a few were usually performed to the stressed beats or the riffs in accordance to Jazz music, which is completely rhythmic.

Taheya has to be one of the most expressive, lyrical and beautiful dancers the world has ever laid eyes on. It is my pleasure to offer her technique to any class I teach. The subtlety and grace in her movements shows

We can also show a tremendous respect to Fifi Abdou for her interpretation to Raqs Sharqi. One also has to embrace the same discipline to achieve her stature. Abdou has taken this dance to heights we strive to reach. Like Carioca, she too conquers control while sustaining movement to Egypt's beautiful classical melodies.

We are aware of how rapidly this dance has spread throughout the world. You can easily find an instructor in almost every country, from the United States to Eastern Europe. We can thank notable instructors and proprietors, like Raqqia Hassan who has organized one of the most popular festivals in the world, Ahlan Wa Sahlan. Festivals such as these not only provide instructors teaching folklore from the Middle East and the Mediterranean in it’s true authenticity, but also other instructors whom have carried on Western interpretations of Raqs Sharqi.

Music allows us to be expressive, and here in the West, music has influenced a large part of the world. It’s simple to fall into Fusion, especially with this general love for music. This has created extraordinary performances and has offered great entertainment socially. One of my favorite dance forms is Turkish Roman. Turkish Roman is truly a folk dance from Turkey that is very different from Raqs Sharqi and other Turkish dances, that is danced to a 9/8 rhythm. The music of this dance combined with Raqs Sharqy offers some of the best Fusion dance. It’s absolutely fun, and can show off the evolution of the traveling steps later incorporated into Raqs Sharqi.

There are various periods in history that are defined by certain schools of composers and genres, Early, Classical, Romance and Shaabi. The first time I listened to Mohamed Roshdy, I felt a sense of nostalgia. Most of his tunes were heavily layered and this motivated a variety of emotions as well as challenging ideas. His pleas evoked immediate reactions, and all I wanted to do was...dance. It was no surprise that most of his songs speaking to me were composed by Baligh Hamdy. Hamdy's works for Umm Kulthum generated a similar reaction...and with a confidant authoritative voice like Roshdy's , I found myself captivated even after listening to him repeatedly. In every movement I found hidden elements that I missed the 1st, 2nd and 3rd time. Its no wonder his musical influence modified a genre which preceded a new empire of artists. Although Roshdy will always be one of my first loves, but there's no other Mawwal that I'm moved to dance to more than one by Ahmed Adaweya. The revealing heartfelt poetry ignites a personal surmounting of my own plights. I find his work a necessary instrument to teach in class. His delivery has this relaxed anticipation that allows me to teach patience to novice dancers, which is a necessary tool in learning Raqs Sharqi.

For example, Tribal Belly Dance has been a popular form of dance since it was introduced in the 60’s. A conglomerate of dance forms combined with Middle Eastern dance paints this image of movements showing posture and control. Draped with uniquely layered textile patterns, and heavily adorned with jewelry while dancing in sequence to artistic and inspiring music, offering a serene ambiance for the audience.

For as complex as it can be, it is simple for me to feel a sense of "home" while listening to the classics coming out of Egypt. I can understand the luminescent idea of romance and love within the first movement of a song. I remember the first listening to his resounding murmurs, and remember his murmurs while listening to someone else. Upon my first song I ever heard by Abdel Halim Hafez, I heard it once and was singing it the rest of the day. His voice gave me ideas and created ideals in the matter of a moment.

I still have all the room in my universe for the one and only Umm Kulthum. She has been my lullabies and my shadows lurking in the night for years. It is easy to feel moved by her voice alone, but the motivation behind that voice is transcendent and sentimental. I find myself craving her while listening to her and longing for her when she leaves. The fact that she worked with some of the best composers in the world satiates even my sixth sense. I have never felt such emotion as I feel while dancing to her voice. I could say the fortune lies within the realm of the notes, a listen to Hayyart Albi alone can change the mind of anyone whom disagrees. Further that confirmation with Arooh Lemeen…I shall go to Sunbati.

My first performance in Egypt was to Enta Fen Wa El Hobb Fein (more popularly known as Hobb Eih). At the time, I was still a baby in my abilities but ravenous at heart. I had only heard an instrumental version to Hobb Eih, but due to my growing familiarity to Umm Kulthum's sentiment while singing, I was able to conjure and evoke the words I had never heard. The violin leading as she does in the original recording provided me with the proper inflection to translate the exact meaning of the song. Baligh Hamdy once again manages to draw me in with his raw and earthy melodies. Umm Kulthum touched generations and generations of people and it appears her presence still reigns near and far. It's an absolute pleasure for me to introduce and reintroduce her to my classes. She has captivated this wander luster and allowed me to embrace Raqs Sharqi and interpret according to its very meaning.