БЭЛАДИ
1.ритм максум
2.ритм максум "вахда у нос " (один с половиной)
Baladi dance roots , In Egypt
When we look to the wool clothes in the Coptic monuments dating back to the first centuries AD, including its colors from images of a variety of dances from the old common among women and young boys, we find similarity between these dances and the ancient Greek dance.
In the Islamic era, we find portraits of dancing on the trim and decorations, most of them back to the Fatimid era. Dancing was characterized by modest dress in the previous ages. The impact of dancing has disappeared in the references for a few centuries to appear again in the references of the eighteenth century and nineteenth centuries in the books of foreign travelers who visited Egypt and described methods of dance performers and their clothes and their living in their books. This kind of art has deteriorated in recent centuries.
It is written that women have been replaced by boys dancer after Muhammad Ali passed a law providing for deportation of the female dancers from Cairo and Alexandria.
In the other saying that they were belonging to a kind of union that includes different sects of delinquents and the center of these unions was Cairo and Alexandria. They used to impose heavy taxes on the belongings to them which led, Muhammad Ali to stop the activity and abandon the belongings to these unions.
El-Zahir Baybars has launched a similar campaign on unions led by some of the Mamluks were engaged in their peak of activity against the security and public morals. The story of Baybars shows us how they collected taxes from these communities.
It was written that during the reign of Muhammad Ali, their behavior was away from any kind of modesty. They have been exiled and migrated from Egypt and they were living in Mahalla al-Kubra (Encyclopedia of Description of Egypt, studies on the Egyptian cities, Zuhair Shayeb, the third part of the city of Mahalla and Tanta). They were dancing in a crude and obscene way. That way of dancing which hardly contribute to it, only the feet or upper body as actions unbridled audacity of emotions that can occur in the self-lust and the desire of sensory urgency. In the beginning does not seem to dance movements extremely sexy limit can not be disclosed to him about the reality of the purpose of entertainment only innocent, but when this becomes perceptible movements slowly, one does not soon recognize that the image of all that profligacy of immaturity. The facial expressions of the dancer begin to change as well as her body expresses more and more about the emergence of the desire which reflect them and embodied movements the body and quickly turn it to the weakness accompanied by shyness, but this feeling takes to fade and the desire would again be more unruly than it was at the first time.
G. De Chabrol, in his book Studies in the customs and traditions of the modern population of Egypt (the description of Egypt - the modern state (1) first edition --1,976 Zuhair Shayeb translation), he has given description that made me imagined that I am the husband who is sitting relaxed on a couch inside the home, and smoking the best tobacco.
The most beloved wife of my wives is sitting next to me. In addition to that I am listening to music and singing. Moreover, I watch the belly dancers sing and dance associated with the musical band, which were brought by my wife to entertain me after a rough day.
I looked secretly around and found some slaves standing behind me and the others sitting cross-legged waiting for the signal to do whatever crosses my mind. what was in my mind is watching that young well-built slim dancer with her belt knotted at her waist, and descending loosely around her waist in a very abnormal way, and lead movements. It depicts the conflict between sensuality and lust and chastity.
The belt held at the waist looks like a barrier that repels attacks by love and lust. The belt starts in going down more and more after the node tied started to be opened leading that the belt went more down on her waist.
Then the dancer again loosely ties her belt. This time she ties it with the beats of drums the belt knot is shaken again slowly. At this moment her chastity has put to its end, after provoke lust so the dancer ties her belt again and with the same laxity. After the dance takes another dimension is more serious. But crying to the moon did not give up vital sensations and desires that the dancer seems to be its prey and the same gestures and nods sincere performance. And weaken delicate and descending node on the waist belt and complexity again. At the end anxiety conquers and the dancer surrenders to her emotions so she slows of her movements and finds that her body had dropping across belt. She slows down more and more of the movements to the point that her face was utter including provokes inside her body, including the impact of a direct impact on my wife who is sitting next to me and found out for developed affected including what happens to the emotions of the dancer and from what she has already seen from them before.
My wife swayed thrill and began singing. Her feelings began to mimic what she saw, what is this? .. I have risen suddenly from my place.
I looked around..
And I found myself dreaming ..
Did I dream ..
Or what I saw was roamer nuggets.
This dance was known among the Greeks and was used in the festivals of Bacchus. GARDITANES gained in the time of the Romans wide fame in it. The Greeks described it and showed it in their poetry like alive paintings (Ibid Encyclopedia Description of Egypt music and singing when the ancient Egyptians). Thus we find that the style of dancing of the belly dancers was borrowed from that period (ie, the Hellenistic period). During the last reign of Queen Cleopatra was continued so that the peak reached in obscenity. Ancient Egyptian Art (gift of divine law-governed and harmony in every part of it and it is consistent with all existing good or, rather, that all goodness is in itself an art any thing the full and harmonious) (Ibid).
Music associated with the system so we cannot put a melody well and do not offer Harmony tones are inconsistent with each other.The ancient Egyptian dancing was used in the temples in the funeral dances, and the priest plays. The ancient Egyptians had a tradition of marriage that the bride goes to the temple for a period of forty days, to learn how to beautify, playing, singing and how to woo her husband to her.
"Awalem" are professional dancers and singers, described by modestly and were appreciated in their technical and personal style. They used to sing in the Haramlek, which is a special place for women in the house. Homes in the past were divided into two sections called the "Haramlek", a special for women and another section called "Salamlek" for men of the house. The Awalem sang and performed their art in the Haramlek accompanied by a kind of tambourine called a framework. The Lord of the house did not have the right to enter there, whatever the excuses, but it is usual to descend head of the house with his friends to the yard or the street to hear them sing (Edward Lin for his book worlds in the customs and traditions of the modern Egyptians). The eastern belly dancerwho use to sing inside homes and palaces went out after the departure of the ruling class of the Turks" .
Their need is what made them go to work but they couldn't continue. Alghawazy tried to copy Alawalem style and to compete them because they believed they are the cause they were sent away from the major cities. They weren't efficient competitors. Thus we find that the Awalem of their good behavior impact in the self has been engaged in the Egyptian society and left clinging to their nature. There was no ceremony or pleasure in the vicinity of the Egyptian family unless they use the help of Alma Since they were the provinces of the secrets of the houses they enter. They are now asking for the wedding the wedding and have a head-on candlesticks and dancing during the singing there are a few of them working on the revival of weddings in villages and engaged, but unfortunately it will not tangle can now distinguish between the Awalem and Ghuazy who have called them now (the light). If God gave me life I will try to link my class Ghuazy and light or working in nightclubs today.
But this is the case, migration and the occupation of Egypt from the first era of Sizostris and occupation of Cambyses to Egypt and the control of the Persians on Egypt and the introduction of their music and the arts, as well as the Romans have been control of the dancers in the temples and denied that the Egyptian priests and their expulsion from their places of worship and the flight of those who remained to the oases in the decline of the profession.
This deterioration is reflected the voices of percussion, tapping and motor performance in a way that do not leave room for doubt it. Fernat copper bells jaded dancers that hold them between their hands - for these machines - a deep yellow Snag one of them has a diameter of 48 mm and a thickness of the edge about one millimeter. In a small circle of rubber thread passes through a hole located in the center of the domed part Alsajat, where there is proven by the node and through the (ring). Adherence to the dancers in this Alsnag fingers without hampering the movement of the fingers, and stuck a pair of dancing this Alsnag in each hand from her hand to carry any Snagh one thumb and other with middle finger whether in the left hand or right hand. In this way, the dancer hit one another successively each pair once, and sometimes hit both spouses together according to the effect that you want the dancer. Through training and practice, know how to dance occur in accordance with the conditions of these changes in tune her Sajat.
While this are making a froissement to extend or lift their arms loosely drawing on circles in the air. As if they are seeking or preparing to embrace and then close their arms from their faces and it is almost over their eyes, which are decorated in the Guard and shame as if they hiding from people.
In short, what has been described is the expression of the striving for chastity and lust for victory of the first and the defeat of the last. Anyone gets the sense that if this battle is more or less equal and this is what is happening now in nightclubs. I beg your pardon, in what I wrote in some of the words described crude or pornographic. Algoizi accompanied in most cases, violin performers Gzoati called one of them, playing the rebec, play the tambourine and click on it to stop here Ghazwatih. The unit produces sharp tones by the left fingers that hold the duff and produces the harsh melodies by strikes are all fingers of the right hand over the joyous mid-stretched skin that covers the musical instrument.
The class of Awalem that represents the status of priestesses in the temples of ancient Egyptian had great impact in women hearts. They were floating between women and housewives to guide them to the best taste in clothing and methods of hairdressing and ways to speak, move, and teaches them how to treat their spouses, the type of speeches, how assuaged their spouses to and use of ornamental in the best way and perfume and all the basics, which interfere in the heart of married life. The first dance school was near Shbrakhitt and there were till 1852 and pursued the training of girls from the age of ten. It was noted against them in the words by St. John in his book (of life in Egyptian villages) they are after the exercise and professionalism of the dance they retain their beauty for a long time. This is dependent upon the media propaganda for dance schools East working in the countries of the world now, such as Germany, England, France and America but also in Japan and South Korea and much of the world and this has created a prominent place them in the Egyptian society and mix with ladies of this society and the fees their ideas well tided objects in the clothes of high decent and dancing with Alsajat or swords or drums and clothes of the finest types of fabrics and wear the best jewelry ornaments many and dancing, two times or four and were trying to reconcile in their movements between them and this Maroath felt the eye in the theater Variety descriptive Helmy, who was present near the Old Opera House (the field of opera threshold) and clothes was a bra adorned Palmtrzac colorful and bottom of the shirt of cloth slave descent over the Pants Moshe definitely a gold and a hair cap gilded like a crown Kingly and gold earrings in the form of pearl beads stacked at the bottom of their feet to wear anklets copper with voices resonant and descending belt on the waist down in relaxation on their hips.
رقص العوالم:
Awalem Dancing:
Begin the dance tunes, usually after boot - stop here - tambourines - Tar – duf. They start beating the legs with the land shall hear Dmom accompaniment to the voice of anklets which were wore in the legs and sometimes after the times they started beating on cymbals who have held in their hands between the fingers (forefinger and thumb) on the same balance of beats of the legs times rhythmic and harmonious start to lift their hands up and down and are stretched out or before chest and then set aside and then come forward a few steps and jump to the top and then with shaking waist, arms, back and forth and then ensure their legs - and kept the motor stillness physical with their arms sticking left in the automatic process so that they meet in the semi-circle opened and closed.
Their bodies in the disorder almost always intense at times and weakens at others, but this is intended from the belly dancer (Alma). She shared her facial expressions with the audience. Her body is sagging and twisted for moments after motionless moments. She sways her upper part of her body in the movement of surprise and then hit all the parts of her body on the rings cymbals copper and the accompanying tunes. Furthermore, it is also seen that one of them go out, then enter a second time, carrying the candelabra on her head.
It is this
We find that baladi dance has emerged from these striking seated in time
And when we go to the latest era, we find that baladi dance has taken a separate way from the streets of the city of Cairo
Hence, we find that baladi dance has begun in Egypt
The beginning of 1940
by
hassaan saber
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