Dabke Classes Near Me? Top 23 Best Answers

Levantine folk dance

Dabke Palestinian girls dance traditional Dabke medium circle dance and line dance types variations of Levantine culture origin

Dabke (Arabic: دبكة‎, also Dabka, Dubki, Dabkeh, plural Dabkaat)[1] is a Levantine folk dance primarily seen in Syria, Lebanon, Palestine, Iraq and Jordan.[2] Dabke combines circle dancing and line dancing and is often performed at weddings and other celebrations. The line forms from right to left and the leader of the dabke leads the line, alternately facing the audience and the other dancers. In English it can be transliterated as dabka, dabki, dabkeh.

Etymology and history[edit]

Dabke dancing men, 1880

The etymology of “dabke” is uncertain, but it is thought to derive from the Levantine Arabic word dabaka (Arabic: دبكة‎‎), meaning “to stamp one’s feet”[3][4][5] or “to make a noise.” ” means. .[6]

The dabkeh leaps may derive from ancient Canaanite fertility rituals related to agriculture, driving away evil spirits, and protecting young plants.[7] According to the Lebanese historian Youssef Ibrahim Yazbec, the dabke descends from Phoenician dances that are thousands of years old.[6]

Another theory says that dabke was originally used to strengthen mud roofs.[8] People pounded on the roofs of houses together to help compress the material to keep it from cracking.[9] This eventually developed into the dance form known today as Dabke.

Variations [edit]

Dabke is popular in different parts of the Middle East, and variations can be found in Syria, Israel, Palestine, Lebanon, Jordan, and Iraq.[10] There are about twenty species of dabke in the Levant, including but not limited to:[11]

Habel Mwadea’ (حبل مودع): is the Jordanian dabke of any kind, performed jointly by men and women. [11]

( ): is the Jordanian dabke of any kind performed jointly by men and women. Al-Karaadiyya (الكرادية) also known as Al-Taiyyara (الطيارة): Is a type of dabke in Jordan, it is characterized by its fast open-circle rhythm. It runs from left to right.

( ) also known as ( ): In Jordan, is a species of dabke characterized by its rapid open-circle rhythm. It runs from left to right. Al-Tas’awiyya (التسعاوية), also known as Al-Ma’aniyya (المعانية): It is performed in the city of Ma’an in southern Jordan.

( ) also known as ( ): It is performed in the city of Ma’an in southern Jordan. Al-Sha’rawiyya (الشعراوية): It is one of the simplest types of dabke and is very close to normal.

( ): It is one of the simplest types of Dabke and is very close to normal. Al-Darrazi (الدرازي): It is played on Mijwiz, which is well known in Jordan and Palestine.

( ): It is played on Mijwiz, which is widely famous in Jordan and Palestine. Al-Shamaliyya (الشمالية): It consists of a Lawweeh (لويح) at the head of a group of men holding hands and formed in a semicircle. The Lawweeh is expected to be particularly adept at accuracy, improvisation, and speed (generally light-footed). Typically, the dabke begins with a musician playing a solo on the mijwiz or yarghoul of a dal ouna piece, often with two singers accompanying his music. The dancers develop synchronous movement and step and when the singers finish their song, the Lawweeh breaks out of the semi-circle to dance alone. When the leader of the dabke sees that the men’s steps are in sync, he instructs the dancers to slow down and begin a movement in which they cross their right foot in front of the opposite one (their left foot). The Lawweeh continues to inform the dancers of their basic rhythms, and at this point other guests at the wedding or event join the dabke line. This form of dabke is danced at happy family celebrations such as weddings, circumcisions, the return of travelers, the release of prisoners, and also at national holidays where dabke becomes a demonstration of national personality. [12]

( ): It consists of a ( ) at the head of a group of men who hold hands and form a semicircle. He is expected to be particularly adept at accuracy, improvisation, and speed (generally light on his feet). Typically, the dabke begins with a musician playing a solo on the piece or piece, often with two singers accompanying his music. The dancers develop synchronous movement and steps, and when the singers finish their song, they break out of the semicircle to dance alone. When the leader of the dabke sees that the men’s steps are in sync, he instructs the dancers to slow down and begin a movement in which they cross their right foot in front of the opposite one (their left foot). This continues to inform the dancers of their basic rhythms, and at this point other guests of the ongoing wedding or event join the dabke line. This form of dabke is danced at happy family celebrations such as weddings, circumcisions, the return of travelers, the release of prisoners, and also at national holidays where dabke becomes a demonstration of national personality. Al-‘Askariyya ( العسكرية ):

( ): Al-Joufiyya ( الجوفية ): It consists of two groups facing each other: the first group sings and the second one responds with Jordanian folk songs.

( ): It consists of two groups facing each other: the first group sings and the second responds with Jordanian folk songs. Al-Ghawarneh (الغوارنة), also known as Deir ‘Ala (دير علا): Performed in the Jordan Valley and is one of the fastest types of dabke.

( ) aka ( ): Performed in the Jordan Valley and is one of the fastest dabke species. Wahad w Nos ( واحد ونص )

( ) Abu ‘Alanda ( أبو علنده )

( ) Al-Aqabawiyya ( العقباوية ): It is performed in Aqaba in southern Jordan.

( ): It will be performed in Aqaba in southern Jordan. Al-Ramthawiyya (الرمثاوية): It is performed in Ar-Ramtha in Northern Jordan.

( ): It is performed in Ar-Ramtha in Northern Jordan. Al-Sahja (السحجة): is a popular Palestinian and Jordanian dance. Al-Sahja mainly belongs to North and Central Palestine and has two types in the south: As-Samir (السامر) and Al-Dahiyya (الدحية). As-Samir’s form involves two rows of men on opposite walls competing in folk poetry, sometimes improvising and even exchanging insults, and competing in the cleverness of the retorts. Al-Dahiyya is a Bedouin version of the same type, in which a professional dancer dances between the two opposite walls of men who compete for her attention, sometimes giving her money. Al-Sahja usually takes place the night before the groom’s wedding celebration (zafat al-‘arees), which is attended by most of the men of the village, especially those who attend or are directly involved in the other wedding celebrations.

( ) : is a popular Palestinian and Jordanian dance. Al-Sahja belongs mainly to northern and central Palestine and has two types in the south: As-Samir ( ) and Al-Dahiyya ( ). As-Samir’s form involves two rows of men on opposite walls competing in folk poetry, sometimes improvising and even exchanging insults, and competing in the cleverness of the retorts. Al-Dahiyya is a Bedouin version of the same type, in which a professional dancer dances between the two opposite walls of men who compete for her attention, sometimes giving her money. usually takes place the night before the groom’s wedding celebration ( ) which is attended by most of the men of the village, especially those who attend or are directly involved in the other wedding celebrations. Al-Dahiyya (الدحية) restricted to men: It is close to Al-Sahja dance. It is performed by southern Palestinians and southern Jordanians.

restricted to men: it is close to Al-Sahja dance. It is performed by southern Palestinians and southern Jordanians. Al-Hashi (الحاشي) restricted to women

restricted to women Al-Farradiyah (الفرّادية) restricted to women

restricted to women Al-Jamma’iyya (الجمّاعية) also restricted to women

also restricted to women Al-‘Adiyya (العادية), also known as Al-Dalo’una (دبكة الدلعونا), is a type of dabke danced in Palestine, Lebanon, Syria and Jordan.[11]

Among the Palestinians, two common types of dabke are the shamaliyya and sha’rawiyya – which have six bar phrases – and the karaadiyya, which has square phrases (of four or eight bars). Another style is the Dabke Niswaniyyah, which is specifically danced by women. Each type of dabke dance has its own corresponding song, the theme of which is often love.[13]

There are six main types of dabke:

Al-Shamaliyya (الشمالية): It consists of a Lawweeh (لويح) at the head of a group of men holding hands and formed in a semicircle. The Lawweeh is expected to be particularly adept at accuracy, improvisation, and speed (generally light-footed). Typically, the dabke begins with a musician playing a solo on the mijwiz or yarghoul of a dal ouna piece, often with two singers accompanying his music. The dancers develop synchronous movement and step and when the singers finish their song, the Lawweeh breaks out of the semi-circle to dance alone. When the leader of the dabke sees that the men’s steps are in sync, he instructs the dancers to slow down and begin a movement in which they cross their right foot in front of the opposite one (their left foot). The Lawweeh continues to inform the dancers of their basic rhythms, and at this point other guests at the wedding or event join the dabke line. This is the most popular and well-known form of dabke, danced at happy family celebrations such as weddings, circumcisions, the return of travellers, the release of prisoners, and also at national holidays where dabke becomes a demonstration of national personality.[12] Al-Sha’rawiyya (الشعراوية): is restricted to males and is characterized by strong stepping or stomping. The lawweeh is the most important element in this type of dabke.[12] Al-Karaadiyya (الكرادية): is characterized by the absence of a lawweeh and a slow movement with an azif (عازف) (flute player) in the center of the circle.[12] Al-Farah (الفره): is one of the most active types of dabke and therefore requires a high level of physical fitness.[12] Al-Ghazal (الغزل): characterized by three strong stamps of the right foot and is usually tiring for the dancers.[12] Al-Sahja (السحجة): is a popular Palestinian and Jordanian dance that became significantly more popular during the British Mandate for Palestine. Al-Sahja mainly belongs to North and Central Palestine and has two types in the south: As-Samir (السامر) and Al-Dahiyya (الدحية). As-Samir’s form involves two rows of men on opposite walls competing in folk poetry, sometimes improvising and even exchanging insults, and competing in the cleverness of the retorts. Al-Dahiyya is a Bedouin version of the same type, in which a professional dancer dances between the two opposite walls of men who compete for her attention, sometimes giving her money. Al-Sahja usually takes place the night before the groom’s wedding celebration (zafat al-‘arees), which is attended by most of the village men, especially those who attend or are directly involved in the other wedding celebrations.

The Oxford International Encyclopedia of Dance also mentions these additional types of line dancing in its entry under “Middle East”:

The murdah was originally performed by women in eastern Arabia while the men of the community were out on extensive fishing and beading expeditions. It involves two rows of dancers moving towards each other in small steps and then retreating while singing rhyming couplets. These couplets were mostly laments for absent loved ones. Although seafaring is no longer economically important in the region, women continue to perform this dance at social gatherings.

Performed by the Berber tribes of the Moroccan High Atlas, the Ahwash (fr., ahouache) comprises one or more curved lines of men and one or more curved lines of women, the whole forming a circle or ellipse around male drummers (Jouad and Lortat – Jacob, 1978; Lortat-Jacob, 1980). One line recites a poem, to which the other line responds with another poem; then everyone moves to the beat of the drums. Usually the whole community participates. During the performance, dancers stand very straight and move with staccato steps, holding on to the house loom pole. Both women and men compose the poems that are recited. A similar dance reported for Morocco is the Dukkala. In one variation, a man and woman compete to see who can dance the longest (Mercier, 1927).[14]

Song genres [ edit ]

There are numerous types of songs sung during and specifically for dabke, by both men and women depending on the occasion, song and audience. Some of the most popular of these songs, such as Dal Ouna (دلعونا), Al Jafra (الجفرا), Al Dahiyya (الدحية) and Zareef il-Tool (ظريف الطول), are actually entire genres unto themselves in the sense that the lyrics can be significant in any performance vary, but the basic rhythm of the music is consistent and recognizable. This variation can be seen in the hundreds of lyrical variations heard and recorded from these songs, which are recognized independently of specific lyrics by their rhythm and sometimes by a single phrase, as in Ala Dal Ouna, Jafra and others. For example, even if one has heard Ala Dal Ouna previously telling a different story in this famous love song, people will still name another song that ascribes the same rhythm and theme as Dal Ouna.[15]

Most of the dabke music, being folk songs, is in the musical mode of maqam bayati.

instruments [edit]

The oud (عود), from which the English word “lute” comes, is shaped like half a pear with a short, unfretted neck. It has six courses with two strings and is played with a plectrum, usually a trimmed eagle feather. This instrument produces a deep and smooth sound.

The mijwiz (مجوز), meaning “double” in Arabic, is very popular in Levantine music. It’s a type of reed clarinet that’s played by gently breathing through a circular opening at the end and moving your fingers over the holes in the front of the reed to produce the different tones. The minjjayrah is similar to the mijwiz, an open-ended reed flute played in the same style.

The tablah (طبلة) is a small hand drum also known as a durbakke. Most tablahs are beautifully decorated, some with wood, tile or bone inlay, etched metal or paintings in typical Middle Eastern patterns. One of the most commonly played percussion instruments; the tablah is a goatskin or fishskin membranophone stretched over a vase-shaped drum with a wide neck. Usually made of earthenware or metal, it is placed either under the left arm or between the legs and struck in the middle for the strong blows and on the edge for the sharp intermediate blows. Today, however, fish skin heads are rarely used due to the climate. When used it loosens, you would have to heat the head to get the right sound again. The membrane or head of the drum is now made of plastic. The most common head is from Alexandria, Egypt.

The daff (دف), also known as the riq (رق), is similar to the tambourine. It consists of a round frame covered on one side with goat skin or fish skin. Pairs of metal discs are embedded in the frame to produce the chime when struck by hand. The sounds of this percussion instrument provide the rhythm of much Arabic music, particularly in performances of classical pieces.[16]

The arghul (يرغول), also known as the jarghul, is commonly used in solos, often accompanied by singers, beginning dabke performances. Unlike the Mijwiz, it only has finger holes in one of its whistles/tongues. (see Al-Shamaliyya, under Types).

The shubabeh (شبابة) is a woodwind instrument traditionally made from reeds. It differs from Mijwiz and Arghul in that it has no reed, instead the musician blows at an angle against the side of the instrument to produce the sound. The shubabeh is traditionally played by shepherds in the wilderness.

Performances and competitions[ edit ]

Men dance Dabke

Dabke competitions or shows consist of different cultural dances and different troupes performing dabke. For example, the International Fiesta, a well-known festival at the University at Buffalo, consists of a series of clubs that perform their cultural dances. This competition takes place each semester in the Main Stage Theater at the UB Center for the Arts in the spring, usually in late February or early March. This allows the organization of Arab students to get involved and show Dabke cultural awareness.

Many universities hold events called Arab Night or a similar title. When these shows take place, dabke is performed either on stage (indoors or outdoors), in a hall on the floor, or outside on the floor. The Dabke dance consists of different steps: Belbel, Inzel, Shemmel and Taxi; a combination of each of these steps plus occasional jumps and twists complete the dance.[17]

In America, the tradition has not been lost and is held in the same venues as in the original homeland, and the dance music is also commonly performed in America at cultural centers and conventions of the Arab community, such as: B. the annual congress organized by the American Federation of Ramallah Palestine.[18]

World Records[ edit ]

In August 2011, a group in a Lebanese village of Dhour El Choueir, Lebanon, set a new world record. Organized by the Dhour El Choueir Summer Festival, a human chain of 5,050 people was made and currently holds the world record.[19]

The Dhour El Choueir event broke the record set by Tollab, the Lebanese student association in Montreal, with the participation of “La Troupe Folklorique Les Chevaliers du Liban” who formed a human chain of 4,475 people who dabbed for more than five minutes in Montreal danced Marcelin Wilson Park.[20][21]

Tollab had himself broken a record of 2,743 set by a group of Israeli Arabs in Acre, Israel. A previous record of 1,700 was set in Toronto.[22]

See also[edit]

Bibliography[edit]

Adra, Najwa. “Middle East” The International Encyclopedia of Dance. Ed. Selma Jeanne Cohen and the Dance Perspectives Foundation. Oxford University Press, 2003. Georgetown University. December 3, 2010 [23]

Ed. Selma Jeanne Cohen and the Dance Perspectives Foundation. Oxford University Press, 2003. Georgetown University. December 3, 2010 Cohen, Dalia; Katz, Ruth (2006). Palestinian Arabic Music: a Maqām Tradition in Practice (Illustrated, Annotated Edition). University of Chicago Press. ISBN 978-0-226-11299-2.

Cash, Elke. Dance and Authenticity in Israel and Palestine: Performing the Nation. Leiden & Boston, MA: Brill; 2003

. Leiden & Boston, MA: Brill; 2003. Ladkani, Jennifer. “Dabke Music and Dance and the Palestinian Refugee Experience: Looking Inside from the Outside.” PhD PhD thesis, Florida State University, 2001.

McDonald, David A. “Poetics and the Perpetration of Violence in Israel/Palestine.” Ethnomusicology. 53:1, Winter 2009.

. 53:1, Winter 2009. Rowe, Nicholas. “Dance and Political Credibility: The Appropriation of Dabkeh by Zionism, Pan-Arabism, and Palestinian Nationalism.” Middle East Journal, 65.3 (2011): 363-80. Summer 2011. Web. 20 March 2012. Print.

Rowe, Nicholas. “Raising the dust: a cultural history of dance in Palestine.” Publisher London ; New York, NY: I.B. bull ; New York, NY: Palgrave Macmillan, 2010.

Handelsman, JoEllen. 3, Middle Eastern dance styles. “Workbook on Dance in the Near and Middle East.” 2nd Ed. Tucson: Premium Source, 2012. 7th Print.

Dabke is a popular folk dance common in the Levantine eastern Mediterranean region. The synchronous “stomping of the feet” (Arabic: dabke) is the basic movement for the dance, which can either be danced in a straight line, in an arc or in a circle.

One of the folk traditions says that dabke comes from working together to build a house. In the past, the houses of the Levant were made of stone, the roofs of wood, straw and earth. The parts of the roof had to be assembled, and that required tamping it evenly.

music

There are a few Middle Eastern instruments commonly used to play the background music for dabke. Mijwiz – a kind of reed clarinet, tablah – a small hand drum and a tambourine (riq) are the most important. Oud (lute), a pear-shaped stringed instrument with the characteristic deep and smooth sound, can also be used.

For a better understanding and imagination watch this video with a great collection of pictures and music:

Dabke in the Palestinian tradition

Dabke is deeply rooted in Palestinian culture and is often performed at joyful celebrations, especially weddings. Sometimes it is danced spontaneously by the assembled guests (since most Palestinians know the basic steps), but it is also very common for a wedding couple to invite a group of professional performers to put on a show.

Dancers often wear costumes based on traditional dress during performances. Women wear embroidered long dresses and men wear loose trousers with wide belts and long leather shoes. Both sexes may cover their heads with a plain white or white kofiyeeh (shawl) with a black pattern.

Dance has also become a way of preserving Palestinian culture, so learning dabke is a common extracurricular activity for youth. At various folklore festivals, the young artists have the opportunity to demonstrate their skills, e.g. The Olive Harvest Festival is celebrated from October to November.

Dabke in Contemporary Performances

Within the Palestinian contemporary art scene, dabke evolved from a simple dance consisting of just 10 to 15 steps to a complex musical and theatrical performance with a storyline. Actors often captivate audiences with complex choreographies inspired by the “stomping of feet.”

Ramallah’s El-Funoun and Bethlehem’s Diyar Dance Theater are recognized as the most outstanding and respected dance companies that seek to express the spirit of Arab-Palestinian folklore and contemporary culture. Their unique combinations of traditional and stylized dance and music have made them the leading dance organizations within Palestinian society and they play an important role in reviving and promoting Palestinian identity.

Where can you see Dabke?

Dabke shows are an inseparable part of various annual Palestinian folklore festivals.

April: Artas Salad Festival in Artas Village near Bethlehem (for more information contact: [email protected] or [email protected])

Artas Lettuce Festival in Artas village near Bethlehem (for more information contact: [email protected] or [email protected]) June: Faqous Festival in Beit Sahour (for more information contact: pwls@wildlife-pal. org or [email protected])

Faqous Festival in Beit Sahour (for more information contact: [email protected] or [email protected]) July: Sabastiya Festival for Heritage and Tourism (for more information contact: [email protected] )

: Sabastiya Festival for Heritage and Tourism (for more information contact: [email protected]) July: Birzeit Heritage Week in Birzeit village near Ramallah (for more information contact: [email protected])

Birzeit Heritage Week in Birzeit Village near Ramallah (for more information contact: [email protected]) September: Grape Festival in Hebron (for more information contact: [email protected])

Hebron Grape Festival (for more information contact: [email protected]) October: Olive Harvest Festival in Bethlehem (for more information contact: [email protected] or [email protected])

Olive Harvest Festival in Bethlehem (for more information contact: [email protected] or [email protected]) December: Shepherds Night Festival in Beit Sahour (for more information contact: [email protected] or [email protected] )

There are also many nice restaurants in Bethlehem and Beit Sahour which, in addition to delicious traditional dishes and oriental atmosphere, offer the opportunity to organize dabke shows and musical performances for groups in any season. Please contact the following offices in advance:

Bethlehem:

Al-Areeshah Palace at Jasir Intercontinental Hotel (00 972 (0)2 276 6777)

Beit Sahour:

Citadel Restaurant (00972 (0)2 277 7771)

Dar al-Balad (00972 (0)2 274 9073)

Grotto Restaurant (00972 (0)2 274 8844) Tried and highly recommended by Travelujah

The tent restaurant (00972 (0)2 277 3875)

Beata Andonia blogs regularly for Travelujah. Originally from Poland, she moved to Bethlehem in 2010.

*For more information about visiting the Holy Land and planning an individual or group pilgrimage, please contact us

Folk dances of Turkey and Turks elsewhere

Traditional Turkish folk dance

Turkish folk dances are the folk dances of Turkey. Facing three seas that span important trade routes, Turkey has a complex, sophisticated culture that is reflected in the diversity of its dances. The predominant dance forms are types of line dancing. There are many different types of folk dances in Turkey, performed in different ways. Zeybek, Teke Zortlatması in the Aegean region, Bar in Erzurum province, Halay in the central, southern, eastern and southeastern parts of the country, Hora in Thrace, Horon in the eastern Black Sea region, spoon dances in and around Konya and Lezginka in Kars and Ardahan are some of the best-known examples of this.[1]

Types of dance [ edit ]

Bar [ edit ]

With their structure and formation, they are the dances performed by outdoor groups. They are generally distributed over the eastern part of Anatolia (Erzurum, Bayburt, Ağrı, Kars, Artvin and Erzincan provinces). Characteristic of their formation is that they are performed side by side, hand, shoulder and arm in arm. Women’s and men’s bars differ from each other. The main instruments of bar dances are davul and zurna (shrill whistle). Later, the clarinet was added to the women’s beard dances. The dominant bars in bars are 5

8 and 9

8th . Occasionally bars of 6

8 and 12

8 are used. Aksa 9

8 bars, which are also the most characteristic bars of Turkish folk music in particular, are used in this dance with extremely different and interesting structures. They usually wear costumes when they dance. They always dance with pride and twirl their hands as they dance.[1]

halay [edit]

Halay is a term used for some of the folk dances found in Turkey and is performed to a large extent in east, south-central, central and south-eastern Turkey. The rhythmic and choreographic elements of these dances are very diverse. These dances are mostly performed with combinations of davul and zurna, as well as with kaval (shepherd’s whistle), sipsi (reed), çığırtma (whistle), or bağlama (a three double-stringed instrument played with a plectrum), or while singing folk songs.[ 1]

Horon[edit]

The horon (Greek: Horos [masculine noun, singular form, nominative]), which is derived from the Greek word: choros (Greek: (ο) Χορός), means dance in both ancient and modern Greek, Turkish: horon, is a Dance style found in the Black Sea region, present-day modern Turkey. The dances called Horon originate from the region’s Laz culture and are circular in nature, each characterized by distinct short steps. Horon was originally a pagan laz dance. Horon or the round dance is a typical folk dance of the Black Sea coastal region and its inner parts. With their formation of tempo, rhythm and beat, horone appears very different from the folk dances in other parts of the country. Horons are generally performed by groups and their characteristic measure is 7

16 Since their melodies are played very quickly, it is very difficult to play them with any instrument. This is why rendering with drum and zurna comes in handy. Melodies from Horon are performed with the small type of zurna called “cura”. Also in the inner parts wind instruments such as bagpipes Mey (again a small zurna) etc. The other bars used are 2

4, 5

8 and 9

16.[1]

Zeybeck[ edit ]

Zeybeks are generally the widespread folk dances of western Anatolia. The Zeybek dance comes from the Zeybeks of the Aegean region. The dance is performed by one or two people or by a group of people and its name changes to, for example, “Seymen” in the central parts of Anatolia. Zeybek dances generally consist of 9

8 bars and have a variety of tempos such as very slow, slow, fast and very fast. Very slow Zeybek dances have a measure of 9

2, slow 9

4 and some other 9

8th . Very fast dances, for example the Teke (goat) dance, which can be seen in the Burdur – Fethiye region, can be considered as Zeybek character dances, they have the traditional measure 9

16 . In Zeybek region there is another folk dance called bengi. It is performed differently than the Zeybek and has a different musical feature and the most characteristic measure of Bengi dance is 9

8th . Especially in slow zeybeks, the traditional instruments are a combination of drum and zurna. The use of 2 drums and 2 zurnas in combination is a tradition, the function of one of the zurnas is accompaniment, in other words it accompanies the melody with a second constant melody. Apart from the drum zurna, a three-double-stringed instrument bağlama, reed, marrow bow, etc. are used for fast Zeybek dances. In particular, the traditional instrument of the Teke (goat) dance region is reed.[1]

Other forms[edit]

Karsilamas: (a type of wedding music) and Hora (from the ancient Greek art form of χορεία) are folk dances with melodic and rhythmic structure and with a fast performance that faces each other and has different cultural structures of the region and the predominant beat is 9

8, but some other measures are also used. Their traditional instrument is a combination of 2 drums and 2 zurna, the most characteristic use of this combination can be seen in this region. It can also be found as tsifteteli.

but some other measures are also used. Their traditional instrument is a combination of 2 drums and 2 zurna, the most characteristic use of this combination can be seen in this region. It can also be found as tsifteteli. Kasap havasi/Hasapiko: meaning “the butcher’s dance” from Turkmen: kasap “butcher”, is a modern dance from Istanbul and East Thrace. [2] The dance has its origins in Byzantine times by butchers taken over by the Byzantine military. [3]

“Metzger” is a modern dance from Istanbul and Eastern Thrace. The dance has its origins in Byzantine times from butchers taken over by the Byzantine military. Kaşık Oyunları: (Wooden Spoon Dances): These dances are generally spread mainly in the Mediterranean region and have very different structure with their arrangement performance, rhythmic and melodic characteristics. They are always rendered using wooden spoons and the characteristic measure is 2

4 or 4

4 . The instruments used are beast bow (later violin), baglama and clarinet, usually accompanied by folk songs. Dinar is probably the most famous of the “Wooden Spoon Dances”

or . The instruments used are beast bow (later violin), baglama and clarinet, usually accompanied by folk songs. Dinar is arguably the most famous of the Kolbastı “Wooden Spoon Dances”: Kolbastı is common and widespread among teenagers.

Lezginka: Lezginka is mainly performed in Kars and Ardahan.

Samah: Samah melodies are bars 5

8, 7

8 and 9

8th . Their traditional instruments are baglama, bow, etc. There is no rhythmic instrument. Singing performances (without an instrument) are also widespread. The most developed samahs consist of 3 parts namely: ağırlama (entertainment), yeldirme (wearing a cloak) and koğdurma (dismiss). Children from Turkey perform folk dance

, and . Their traditional instruments are baglama, bow, etc. There is no rhythmic instrument. Singing performances (without an instrument) are also widespread. The most developed samahs consist of 3 parts namely: ağırlama (entertainment), yeldirme (wearing a cloak) and koğdurma (dismiss). Syrtos: They are Greek circle dances that originated in ancient Greece and are called Syrtos, from σύρω, syro, “to pull [the dance]” and are mainly found in the region of Pontus.

, “drag [the dance]” and are found mainly in the region of Pontus. Shiksaray: is a Turkish dance originating in the Black Sea region.[4]

See also[edit]

Dabke is a boisterous, joyous form of traditional line and circle dance with origins in Middle Eastern culture and the Bedouin tribes. Large groups of people fold their arms, tap and stamp their feet, and chant or sing. Its purpose is to share historical narratives and living folk heritage.

His communal, cheerful expression goes particularly well with a characteristic of Palestinian culture. Today, Dabke goes beyond meaningful, culturally relevant steps and dances and morphs into a spectacle of traditional dress, unity, and even social protest.

How Dabke came about

People from villages and towns in Palestine, Lebanon and other Middle Eastern regions often lived in modest houses made of branches and mud. When cracks appeared in these houses and their roofs, people would gather to hold hands and work in rows to close the cracks. As the weather turned colder, singing helped distract people from their work and their need for warmth.

This is how Dabke was born. The pattern of singing, working, and stomping remained a symbol of struggle and survival for people even as house building methods and strong roof building strategies advanced. Older generations passed on this traditional pattern as work songs and traditional dances to commemorate history in all Arabic cultures.

Deeper meanings in Dabke

As roofer struggles improved, Dabke continued to work with young people in countries such as Lebanon in particular. They embraced the art form as a connection to history and heritage. The cross-generational tradition evolved into various forms such as al karradiyeh and al tayyara for youngsters who can handle their quick and nimble footwork, and al dalona, ​​a slower form for people of all ages to enjoy together.

Dabke hosts many weddings, parties and important celebrations in the Middle East or among Middle Eastern people scattered in many places around the world. These celebrations usually feature live bands and traditional clothing, including the traditional ‘kufiyyeh’ scarf for both men and women.

An important development in dabke dance was its social function. After the massacres in Gaza, dozens of dancer-activists organized troops to perform dabke across Britain. Their spirited performances reminded the world of the humanity and worth of their slain people and shed much light on Palestine.

Dabke today

Dabke remains alive and well to this day at Middle Eastern weddings, community celebrations and home events. Ramallah’s El-Funoun and Bethlehem’s Diyar Dance Theater are among the many professional dabke dance groups bringing this unique tradition to wider recognition and prominence on stage before mesmerized audiences.

Traditional folk dances of the Arab world

For the style of Arabic dance, see Belly dance

Arabic folk dances (Arabic: رقص عربي‎, romanized: raqs ʿarabiyy), also called oriental dance, Middle Eastern dance and Eastern dance, are the traditional folk dances of the Arabs in the Arab world. Arabic dance has many different styles including the three main types of folklore, classical and contemporary. It is enjoyed and practiced throughout the Arab region, from North Africa to the Middle East.[1][2]

The term “Arabic dance” is often associated with belly dancing.[3] However, there are many styles of traditional Arabic dance[4] and many of them have long histories.[5] These may be folk dances or dances once performed as rituals or as entertainment spectacles, and some may have been performed at the imperial court.[6] The convergence of oral storytelling, poetry reading and music has a long tradition in Arab history.[7] The most famous traditional Arabic dances include the belly dance, the ardah and the dabke.[8]

Traditional dance is still popular with expatriate Arabs and has also been successfully exported to international folk dance groups around the world. All dancers wear traditional costume to embody the history of their culture and tell stories of their ancestors.[9]

history [edit]

A dancer dancing Raqs Baladi in Cairo

Historically, dance has always been an important part of Arab culture. Some examples of the various ballroom dances enjoyed in the Arab world are Debke (Arabic: دبكة‎, also spelled Dabkeh), Raqs Baladi (Arabic: بلدي‎, romanized: baladī; relative adjective “of the city”, “local”, ” rural”. , comparable to English “folk”, with a lower-class connotation) and religious sacred dances. During the series of invasions in the Arab world, Europeans were influenced by the cultures of their peoples. During the French campaign in Egypt and Syria in 1798, Europeans became interested in the Arab world, folk dances and music of each country.

the eastern side of the Arab world in the mid-19th century; Arabia, Egypt, the Levant and Mesopotamia were collectively referred to as “Al Sharq” or “Mashreq”; means “east”. The Middle East attracted European painters and writers, known as Orientalists, who specialized in Oriental subjects. the most prominent personalities include Jean-Léon Gérôme, Eugène Delacroix and Jean-Auguste-Dominique Ingres.[10]

Orientalism undoubtedly contributed to the misconception that folk dance is a temptation dance performed for the pleasure of men. In fact, due to traditional gender segregation, women in the Middle East usually only dance in the women’s society between parents and friends. Sometimes a professional dancer and musician were invited to the women’s caucus. Today, gender segregation is not strictly practiced in many urban areas, and sometimes both men and women dance socially at family and/or community events.

Arabic dance was performed in the United States at the 1893 World’s Columbian Exposition, which included an exhibit called The Streets of Cairo. The exhibition was attended by dancers from Egypt and several other Arab countries from the Middle East and North Africa, including Syria and Algeria.[11] The term “belly dance” is often attributed to Sol Bloom, his director of entertainment, but refers to the dance as danse du ventre, the name used by the French in Algeria. In his memoir, Bloom says, “When the public learned that the literal translation was ‘belly dance’, they were delighted to conclude that it must be lewd and immoral… I had a gold mine.”[12]

Types of dance [ edit ]

Arabs have their own diverse and rich music and dances that are part of their identity. There are many traditional Arabic dances as the Arabic world is a huge area. Men are just as involved as women. Here are four types of traditional dances.[13]

List of classical dances[ edit ]

Dating back to ancient times, these dances have continued to evolve throughout history and over time.[13]

belly dance [edit]

Belly dance, also referred to as Arabic dance (Arabic: رقص شرقي‎, romanized: Raqs sharqi) is an oriental expressive dance[14][15][10][16] that emphasizes complex movements of the upper body.[17] Many boys and girls in countries where belly dancing is popular will learn it when they are young. The dance involves the movement of many different parts of the body; mostly circular. Both women and men can do belly dancing.[18]

Shamadan[ edit ]

Dance of Shamadan

Shamadan (Arabic: شمعدان‎) is a large candelabra balanced on a dancer’s head, in a tradition unique to Egyptian dance. This dance prop is historically used in the Egyptian wedding procession or Zeffah.[22] The wedding procession traditionally takes place at night, meandering through the neighborhood streets from the bride’s parents’ house to her new home at the groom’s house. This is the bride’s official procession and is led by a dancer, musicians and singers, followed by the wedding party and their friends and family.[23]

Raqs Sharqi[edit]

Raqs Sharqi in Cairo

Raqs Sharqi (Arabic: رقص شرقي‎) is the classic Egyptian style of belly dancing that developed in the first half of the 20th century. This dance is pre-Islamic and an oral tradition that has changed over the centuries. Some people believe that it originally originated as a fertility or goddess worship dance and can still be used in North Africa to help during childbirth.[24]

Baladi[ edit ]

Dance of Baladi in Egypt

Baladi (Arabic: بلدي‎‎) means “of the country” and is an early 20th-century style of Egyptian folk dance that is still very popular. Thus, “Egyptian Beledi” means “from the land of Egypt”[25]. It originated when peasants moved to the city and started dancing in a small space. Egyptians have baladi people, baladi bread, baladi rhythms, baladi music and baladi dance. It is a folk/social form of belly dancing. It is more stationary than Raqs Sharqi, with little use of the arms, and the focus is on hip movements. The Baladi dance has a “heavy” feel, with the dancer appearing relaxed and strongly connected to the ground. It is performed to baladi or folk music.[28]

Almeh [edit]

Almeh (Arabic: عالمة, romanized: ʕálma IPA: [ˈʕælmæ]; the exalted dance in the past is ʕálme or ʕālme, plural عوالم ʕawālim Egyptian Arabic pronunciation: [ʕæˈwæːlem, -lɪm], from Arabic: ʻع,lima, ʻع, be taught”) was the name of a class of female entertainers in Egypt, women brought up to sing and recite classical poetry and to speak wittily.[29] Unlike the Ghawazy, the Awalim performed only for women and for the upper classes in their homes.

Ouled Nagel[ edit ]

Dancers from Ouled Nail

Ouled Nail (Arabic: أولاد نايل‎) gave rise to a style of music sometimes known as Bou Saâda music, after the town near her home. In belly dancing, the term refers to a dance style originating from the Ouled Naïl people, who are known for their way of dancing. This includes small, quick foot movements paired with strong upper body and hip movements.[30][31]

Ghawazi[edit]

Ghawazi, Ghawazy (Arabic: غوازي‎) (also Ghawazee) dancers from Egypt were a group of traveling dancers. The Ghawazee perform solo or in small groups, unveiled to diverse audiences, on public streets, at festivals, in café houses and in Upper Egypt mawalid (local Islamic ceremony), the term itself sometimes accompanied by sexual acts in the local culture and has sometimes been used used as an insult. Her dance has little elegance; its main characteristic is a very rapid vibrating movement of the hips from side to side.[32]

folk dances [edit]

These dances are performed at civil celebrations or events such as birth, death, marriage or social advancement, and sometimes at religious festivals.[13]

Dabke[edit]

Palestinian girls dance traditional dabke

Dabke (Arabic: دبكة) is an Arabic folk dance event that is part of the common socio-cultural landscape of Jordan, Palestine, Lebanon and Syria.[33] Twice Dabke was made into a fixed canon of movement patterns and steps that served to reinforce behavioral norms and cultural meanings through repeated execution.[34]

Deheyeh[ edit ]

Deheyeh (Arabic: الدحية‎) is a Bedouin dance practiced in Palestine, Jordan, Northern Saudi Arabia, some Gulf States and the Syrian Desert. It was practiced before wars to excite members of the tribe and at the end of battles to describe the battle and tournaments in ancient times, but now it is practiced on occasions such as weddings, holidays and other celebrations.

Popular dances[ edit ]

Folk dances include all forms of artistic expression of a people.[13]

Khaleegy[ edit ]

Arab girls dance Khaleegy dance

Khaleegy (Arabic: خليجي‎) is a dance performed in the countries of the Arabian Peninsula.[35] A long “thawb” is worn, held up by the dancer in front.[36] There’s a step to this, but the main feature is the hair that’s tossed as the head swings from side to side. The dance’s name literally means “golf” in Arabic and is danced by local women at weddings and other social events. Khaleegy is a joyful, lively, expressive, gestural and delicate dance performed at events involving joy and celebration (such as weddings).[37][38] Women dance in complicity and it often begins with one of them standing alone on the dance floor to start the dance and then the others join her. The main parts of the body involved in the dance are the hands, the head, and the “thawb”. herself. The hair, along with the “thawb”, is the main element used to dance Khaleegy: women make their long hair “dance” by moving it back and forth, back and forth, in circles and making other figures. [39] Recently it has become very popular with belly dancers.[40]

The Khaleegy dance is most commonly performed to a hypnotic 2/4 rhythm with two heavy hits and a pause called the Saudi, Khaliji, or Adany (from Yemen) rhythm. There is not one Khaliji rhythm but hundreds as this dance represents many countries of the Gulf region.[41]

Ardah[ edit ]

Ardah (Arabic: العرضة‎, romanized: al-‘arḍah) is a type of folk dance in Arabia. The dance is performed with two opposing rows of men, each of whom may or may not wield a sword or stick, and is accompanied by drums and spoken poetry.[42] In the Emirates, the local version is called Ayyalah.

The term “ardah” is believed to derive from the Arabic verb “ard” meaning “to show” or “to demonstrate”. It was so called because its purpose was to publicly demonstrate a tribe’s fighting prowess and to boost morale before an armed struggle.[42] Although there are regional variations in the particular rendition of Ardah, the purpose it serves is nearly identical throughout the Arabian Peninsula.[42]

Hagalla[ edit ]

Hagallah dances

Hagallah (Arabic: هجاله‎‎) is a folkloric festival dance known as Hagallah performed by the sedentary Bedu (Bedouin) people of Mersa Matruh in western Egypt and is often performed during the date harvest, the wedding season in that area. 43] Hagallah is also known in areas of neighboring Libya and is related to kaf (clapping) dances in other regions of the Middle East. Hagallah is performed by the Bedouins of western Egypt. It has been described as a wedding dance and also as a girl’s coming-of-age dance.[21]

shikhatt [ edit ]

Schikhatt (Arabic: شيخات‎): In Classical Arabic, the word sheikha (Arabic: شيخة) is the feminine of sheikh: a person of knowledge, experience, wisdom. In Maghrebi (Moroccan Arabic), “sheikha” limits its meaning to denoting a woman with carnal knowledge extensive enough to teach others. It is a women-only erotic dance originally performed for the bride before her marriage with the idea of ​​teaching her how to move in the marriage bed.[19]

Guedra[ edit ]

Guedra (Arabic: كدرة‎) is a dance from the desert region of southwest Morocco performed to induce an altered state of consciousness, with a solo performer beginning the dance with hand gestures and then swinging the head and torso until a trance state is achieved.[44] Guedra dancers are single or divorced women. Sometimes men in the audience inquire about marriage.[45]

Yowlah[ edit ]

Yowlah (Arabic: اليولة‎) or Ayyalah is a traditional dance in the United Arab Emirates. It involves spinning and throwing a gun dummy made entirely of wood and metal plates.[46]

Sacred Dances[ edit ]

Mwald Celebrations of the Prophet’s family in Egypt is the finest spread tables and clues from the days of eternity, and the people of God in Egypt celebrate the family of the Prophet Bmwald on a fixed annual date

These sacred dances are related to the dominant religion of the Arab world, Islam. They are particularly associated with Sufism, which is at the heart of the Islamic tradition introduced by the Prophet Muhammad.[13]

Tanura[ edit ]

Tanoura (Arabic: التنورة‎‎) is an Egyptian folk dance of apparent Sufi origins[47] which today has become an important part of the festival rituals performed on many occasions.[48] The dance is a rhythmic dance performed collectively through circular movements, which stems from the mystical Islamic sense of the philosophical foundation.[49] She sees that movement in the universe begins at one point and ends at the same point and therefore reflects this concept in her dance.[50] Her movements come as if drawing halos immersed in space. The word tanoura or tannoura refers to the brightly colored skirt worn by the twirler, with a color representing each Sufi order.[51]

Tsar [edit]

Zār (Arabic: زار) is a dance performed to drive away evil spirits. It originated in Sudan but is also popular with women in Egypt.[21]

Gallery [ edit ]

See also[edit]

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Dabke (دبكة) is an Arabic folk dance. It is popular in the Palestinian Territories and several Arab countries such as Iraq, Jordan, Lebanon and Syria. A line dance often performed at weddings and celebratory occasions. The leader of the dabke leads the line, alternating between the audience and the other dancers.

Dabke literally means “stomp your feet” in Arabic. The leader, called Raas (‘head’) or Lawweeh (‘wiggle’), is allowed to improvise on the nature of dabke. The leader spins a handkerchief or string of beads known as a masbha (similar to a rosary) while the rest of the dancers keep the rhythm. The dancers also use vocalizations to show energy and keep the beat. The Dabke leader is said to be like a tree, with arms in the air, a trunk proud and erect, and feet stamping the ground in rhythm. At weddings, the singer begins with a mawwal. The Raas or Lawweeh takes the lead. Everyone takes a simple 1-2-3 step before the song begins. At weddings, the dance is sometimes performed by a professional troupe in costume.

The “Dabkeh” originated in the Levant, where houses were built of stone with roofs of wood, thatch and earth. The dirt roof had to be compacted, which required an even tamping of the dirt to compact it evenly. This collaborative event is called ta’awon, and from here comes the word awneh, meaning “help.” This resulted in the song Ala Dal Ouna (على دلعونا), or roughly translated “Let’s go and help”. The dabke and rhythmic songs go together in an attempt to keep the work fun and useful.

5

Repeat the steps just performed. Cross your left leg in front of your right. Follow him by taking a step to the right. This whole sequence is called “cross-over” and is the basic step of dabke. Crossovers can be performed many times between other trains. During the dance, the chain can change direction. To do this, simply switch your sides so your right foot is pointing forward and crossing over your left leg.

insight

British dance collective Hawiyya Dabke breaks down borders to celebrate Palestinian culture and identity.

Hawiyya Dabke is an all-female Palestinian dance group from the UK that breaks boundaries and creatively brings the reality of Palestinian suffering under occupation onto the dance floor and straight into grassroots communities.

In Arabic, “Hawiyya” means identity; a name befitting this group of women fighting for the survival and freedom of the Palestinian people. This dance collective is primarily made up of social activists who use dance, performance and poetry to draw attention to a brutal cast.

“We use our performances to promote social justice for Palestinians and other oppressed people and to celebrate our culture that has been oppressed for decades,” Shahd Abusalama, one of the dance group’s founders, told TRT World.

“Israel has long sought to appropriate indigenous traditions, arresting, harassing and restricting dabke dancers and other performers. We will not allow our culture to be appropriated and defaced by our oppressors!”

Shahd Abusalama, one of the founders of the dance group Hawiyya Dabke. (Hawiyya Dabke)

Dabke, a traditional folk dance from the Levant region, is one of the most important dance forms in Palestine and a living history of the people and their culture. Since 1948, dance has become the voice of the voiceless and a clear statement of Palestinian identity, existence and resistance.

The meaning of “dabke” is literally “stomp your feet” and was historically used to inspire people as they worked the land or banded together to complete common tasks.

“Dabke is about rootedness, belonging and unity. There is a traditional dabke song ‘Ala Dalouna’ which means ‘Let’s go and help’ and is now being used as a call for all Palestinians to unite in the resistance,” says Shahd.

Since 1948, large numbers of Palestinians have become refugees, scattered across the world and barred from returning to their homes, while Jews from anywhere can claim citizenship under the Law of Return. The remaining Palestinians are essentially prisoners in their land with no rights or freedom.

However, the Palestinians are a resilient and creative people. Where they have been silenced, they use other means of resistance such as dance.

Hawiyya hosts dabke workshops around the world and spreads awareness of the Palestinian cause through grassroots projects and creativity.

As a women-only dance group, Hawiyya gives the opportunity to reach spaces and audiences that mixed-gender groups cannot, resulting in their message spreading to a wider audience.

An example of this is how dabke empowers participants to express themselves freely; especially those who have suffered trauma or abuse. They connect to the message of dance and can use it to let go of their suffering.

CURFEW (2018): A collaborative contemporary dance production by Hawiyya and Palestine-based dance company El Funoun. (Hawiyya Dabke)

Nadia Sibany is a member of the Hawiyya collective and a dancer who grew up in Nablus and came to the UK when she was just seven years old. She joined the group in 2018 after looking for a way to connect more closely with her Palestinian heritage.

Nadia danced from a young age, but she was not trained in Dabke. However, with the worsening situation in Palestine over the years and a sense of isolation from her people, she wanted to be part of the fight for justice.

“I joined Hawiyya because it combines my thirst for social activism with my love of dancing,” Nadia told TRT World. “I wanted to be part of a movement that serves as a cultural and political unification for hundreds of thousands of Palestinians who are being denied the right to transit or return to their homeland.”

“Being a part of Hawiyya gave me this sense of identity and purpose. I love the fact that this is a women’s dance group. We all come from different backgrounds and are united in the Palestinian cause.”

Nadia says that while Dabke is traditionally seen as male-led, the troupe is shaking it up and bringing the dance form into the present and future.

“Women bring a unique perspective to this dance as mothers, sisters, aunts, wives and daughters, and we interpret the movements based on our experiences and realities.”

Dance group members. Hawiyya runs dabke workshops all over the world. (Hawiyya Dabke)

A London-based group, Hawiyya brings the history of the Palestinian people to the British public in a relatable way through arts and culture.

“When you hear the brutal cast on the news, it can seem far away. However, when reality is presented through a beautiful and emotionally charged performance, the audience can imagine the horrors of life under occupation,” says Nadia.

“We are determined to tell the world about the realities in Palestine and living in the West allows us to connect with the art movement both here and in Palestine and spread the message.”

“Through our dance we tell stories, and once told they cannot be denied. To exist means to resist!”

It’s easy to feel powerless in the face of the sad situation in Palestine. However, Shahd does not let this feeling dictate him.

“I feel power when I dance dabke!” she says emphatically. “We have hope as we don’t have the luxury of despair. Palestine is a reason to live.”

“Lately I have seen many more people mobilize and there has been an increased awareness of what is happening to the Palestinians. The Israelis are losing the moral battle.”

“We live in a world where Palestine is being erased from the map. We want to remind the world that we exist and that we have a beautiful history and culture. And although Israel tries to destroy us, we will not be wiped out!”

When asked what supporters of Palestine can do to show solidarity, Shahd believes everyone has a role to play, and that starts in our own circles.

“Everyone has the power of change in their own hands. Unfortunately, the mainstream media manipulates people and incites hatred. However, we all have a responsibility to find out the truth.”

Hawiyya’s solution for the future is the implementation of the right of return for all refugees, which is already recognized under international law. They also demand freedom for all people in Palestine and equality and dignity for all.

These are basic human rights, but to quote Marc Lamont Hill and Mitchell Plitnick, “Except for Palestine.”

Source: TRT World

5

Repeat the steps just performed. Cross your left leg in front of your right. Follow him by taking a step to the right. This whole sequence is called “cross-over” and is the basic step of dabke. Crossovers can be performed many times between other trains. During the dance, the chain can change direction. To do this, simply switch your sides so your right foot is pointing forward and crossing over your left leg.