DOCSLIB.ORG

For Lovers of Arabic, North African and Tribal Dance Everywhere Contents…

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
For Lovers of Arabic, North African and Tribal Dance Everywhere Contents… By MeMBers for MeMBers for lovers of Arabic, North African and Tribal dance everywhere Contents… Page 1 Editor’s Letter by Liz Newman Letter from the Chair by Rosemary Le Fevre Page 2 Twenty Five Years of Dance: Katie Holland talks to Editor, Liz Newman Page 6 Is This Your First Time Teaching Online? MADN update Twenty Five Years of Dance – see pages 2–5 Page 7 Membership Form and GDPR Permissions and Hannah’s Events: Review of Sharing Information Page 16 Workshops with Galit Mersand Page 8 Tenth Anniversary in Torquay and Casbah Cafe Showcase by Jan Piggott Algerian Dance Workshops Page 10 Whirling Queens: Neo(n) with Leyla Hayat and DEADLINE Dervish and the Mash-up Casbah Cafe Christmas FOR NEXT Chapter or profound, reflective Afternoon Hafla Review ISSUE: trance-dance? A New Year and a New JULY by Eva Forrai: Slow Tornado Home for Casbah Cafe Page 12 An exploration of the Basis of by Hannah Newton 1st 2020 Middle Eastern Music with an Page 21 Considering Catering for introduction to Classical Music Your Hafla or Event? and the Muwashaha to expand MADN update a dancer’s knowledge by Maureen Pemberton Page 22 The Importance of Defining Your Dance: Part 4 Page 15 Insurance Form by Ne-Kajira Page 15 Poem: Elemental Page 25 Events Dance/Muscle Memory by Francesca Page 26 Belly Dance and the Danu Rhythm of Life by Rosemary Le Fevre Page 28 Teacher’s Listing MOSAIC is the official magazine of Mosaic Arabic Dance Network (MADN). MADN was founded in 1993. Articles and reviews express the opinions of the author and are not necessarily those of the MADN committee. All submissions are subject to editing and editorial comment. Views Liz Newman: expressed do not constitute legal [email protected] advice or opinion. All contributors All advertising queries to Liz Newman: should ensure that their [email protected] submissions are not libelous or Please note all rates can be found on the website: infringe copyright. Articles are www.mosaicdancenetwork.org/magazine copyright of their authors. Membership Enquiries – Fiona Sperryn: Advertisements do not imply [email protected] recommendation by the MADN committee. Terms and conditions Insurance Matters! – Rosemary Le Fevre: apply to all submissions. [email protected] Rosemary Le Fevre: [email protected] Front cover photo of Katie: VG Photography Design: [email protected] Algerian Dance Workshops with Leyla – see page 18 Print: www.rtw-printers.co.uk/ Photo: Peter Chaplin ISSUE 77 Ed’s Letter Hello everyone… Karen Photo: Ralph “Life, but not as we know it, Jim.” I may be mis-quoting Star Trek here, yet this is a time of tremendous upheaval for us all. Suddenly we are facing rapid change and hitherto unknown restrictions on our personal liberty. Shocking though this may be, it is necessary worldwide in response to a threat that exceeds man-made dangers. It’s putting our lives into perspective: what is important, what there is to strive for or avoid, desire or resist, personal vs communal, all thrown together. So, we do the best we can, maintaining a positive Letter from the Chair constructive outlook, rather than buying into mass conscious fear and panic. For every act of greed and hoarding, there are Dear dancers, great outpourings of help and support. This is a challenging time worldwide and those affected by Earth’s air and waters are clearing. This coronavirus are in our thoughts. Take good care and hold the shared experience is a great equaliser. It’s planet in love and light as we deal with the challenges ahead. brilliant that so many dance teachers and groups are still gathering via the We are planning to have our AGM online this year on internet to keep spirits up. Carpe diem May 20th. and dance! Please let me know if you wish to attend so we can ensure we take up enough coverage for everyone. Thank you all who have contributed to this issue of Mosaic Insurance and membership renewal are now at the same time magazine. I always need a good mix for May, please send your forms, including the GDPR form, of articles to keep our readers preferably online to [email protected] engaged and stimulated. So please when you sign up for membership and/or insurance, so we do send things to me … in good time, can update the Teachers Listing in the magazine and online. I ask again! Our insurance plan DOES cover you for teaching online. [email protected] If you are unable to teach in person, please consider teaching See the box below for guidelines on safely online. We would love to hear how this has worked for copyright, format and picture you for our next issue. resolution. Please send articles for the next issue. If you have some spare time we always need content for Look after yourself well Mosaic. We rely on your content to fill the magazine. The and be of good cheer sooner the better : ) Liz x [email protected] Take every opportunity to try something new. Go well and happy dancing, Rosie MADN Article guidelines [email protected] ONLINE 1 Please use Word docs for your articles. Pdfs can prove tricky to open AGM and edit. Cutting and pasting of text from emails, FB and Messenger 20TH MAY is NO-GO!' 2020 2 Please send your original images separately if possible, not pasted into your text file. Indicate in the text where the images should be. 3 If the resolution of an image is too low, this results in a ‘pixilated’ look. In order for your images to look really great when they’re printed, here’s a rough guide for the best results: D 250kb–500kb might be usable if printed fairly small MADN Membership D 500kb–1mb is usable, though 1–6mb (or bigger) is perfect Generally, those taken on a phone at its highest quality setting are OK. & Insurance So… the bigger the file, the better. Please don’t take images from DON’T FORGET TO RENEW YOUR websites if possible, they’re generally too small and you could run MEMBERSHIP AND INSURANCE BY in to copyright issues. MAY 1ST 2020! 4 Mosaic magazine assumes that you will have checked regarding MADN membership brings you copyright of any images (apart from your own, of course) used a fab deal on insurance!! within your article. You need to have gained permission from the See pages 7 and 16 for details. owner of the images before you use them. Mosaic will take no responsibility for any copyright infringement! ISSUE 77 1 Twenty Five Years of Dance: Katie Holland talks to Editor, Liz Newman Q How and when did you first start she was sixty-three. Somehow, watching dancing Egyptian and related styles? her dance I had the realisation that this What drew you to the dance? Had was something I could do throughout my you experience in other styles whole life no matter what. before? My first experiences were from the age of Q Did any teachers influence three for ten years in ballet, tap and you particularly? modern dances. I was interested from a All my teachers have had a huge young age in ancient Egypt and what the influence on me. I chose who I studied hand positions signified in the with very carefully. Sylvia, Maggie Caffrey, hieroglyphs. I also loved films like Anji Jackson-Main (Hilal School) and Leila Romancing the Stone, the beginning Haddad had immense influence in my credits of James Bond and Tales of the first five years of studies. Starting the Unexpected with the snake-armed dance so young meant that different dancing women. I first saw a belly dancer teachers appeared at certain points in my in the U2 video Mysterious Ways when I life as I was maturing, growing and was fourteen and knew immediately that evolving. I feel this gave me a very special was what I wanted to do. I searched for a connection with each year to find a teacher, in the meantime of them as they also telling my careers advisor at school that I steered me in all wanted to be a belly dancer. She helped aspects of life, often steered me in my search and eventually I found because they were “me in all Sylvia Canetti (one of the original much older than the aspects of founders of MADN) who became my first teenage me and I was teacher when I was fifteen. At that time, very lucky to glean life… Dancing baladi, aged 18 from their lived ” experiences as well as the dance. One next three years I gathered my confidence person who showed me how to dance the performing at haflas solo and duet, in ‘heart-body’ connection was Hossam theatre performances with Anji Jackson- Ramzy. Main and with a ME fusion band. This led I recently spent a month living and to teaching and performing at belly studying with my shamanic dance dance events and festivals across the UK teacher in India. We were able literally to and beyond. live, eat and breathe the processes in what felt like a very ancient way of Q When and where did you start sharing. This, to me is the real study teaching? and the true communing form of embodying dance. I began assisting Sylvia with her weekly Katie and her sister, Faith classes when I was eighteen. She was the voice and I was the body. I had to make Q When and where did you start sure that I physically presented exactly performing: solo and group? what she was describing.
Load more

Recommended publications
  • Harem Fantasies and Music Videos: Contemporary Orientalist Representation
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2007 Harem Fantasies and Music Videos: Contemporary Orientalist Representation Maya Ayana Johnson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, and the Music Commons Recommended Citation Johnson, Maya Ayana, "Harem Fantasies and Music Videos: Contemporary Orientalist Representation" (2007). Dissertations, Theses, and Masters Projects. Paper 1539626527. https://dx.doi.org/doi:10.21220/s2-nf9f-6h02 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Harem Fantasies and Music Videos: Contemporary Orientalist Representation Maya Ayana Johnson Richmond, Virginia Master of Arts, Georgetown University, 2004 Bachelor of Arts, George Mason University, 2002 A Thesis presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Master of Arts American Studies Program The College of William and Mary August 2007 APPROVAL PAGE This Thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Maya Ayana Johnson Approved by the Committee, February 2007 y - W ^ ' _■■■■■■ Committee Chair Associate ssor/Grey Gundaker, American Studies William and Mary Associate Professor/Arthur Krrtght, American Studies Cpllege of William and Mary Associate Professor K im b erly Phillips, American Studies College of William and Mary ABSTRACT In recent years, a number of young female pop singers have incorporated into their music video performances dance, costuming, and musical motifs that suggest references to dance, costume, and musical forms from the Orient.
    [Show full text]
  • Natacha Atlas Mish Maoul Mp3, Flac, Wma
    Natacha Atlas Mish Maoul mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Pop Album: Mish Maoul Country: UK Released: 2006 Style: Vocal, Ballad MP3 version RAR size: 1860 mb FLAC version RAR size: 1358 mb WMA version RAR size: 1445 mb Rating: 4.6 Votes: 178 Other Formats: AHX APE MP3 ADX APE MP4 AAC Tracklist Hide Credits Oully Ya Sahbi Bass, Acoustic Guitar, Keyboards, Strings, Programmed By – Dubulah*Cello, Double Bass [Contrabass] – Bernard O'NeillDrums – Brother PDrums, Shaker, Keyboards, Programmed 1 5:33 By – Neil SparkesGoblet Drum [Darabuka] – Ali El MinyawiKeyboards – Natacha AtlasNey, Flute [Kawala] – Louai HenawiVocals – Sofiane SaidiWritten-By – Dubulah*, N. Atlas*, N. Sparkes* Feen Accordion – Gamal El Kordi*Cymbal [Zills], Bells, Shaker, Tambourine, Drums [Duf] – Neil SparkesDouble Bass – Bernard O'NeillGoblet Drum [Darabuka], Drums [Duf] – Ali El 2 MinyawiGuitar, Drums, Keyboards, Arranged By [Strings] – Dubulah*Ney [Solo], Zither 5:46 [Qanun] – Aytouch*Oud – Nizar HusayniRecorded By [Strings] – Khaled Raouf*Strings – The Golden Sounds Studio Orchestra Of CairoVocals – Princess JuliannaWritten-By – Dubulah*, Julie Anne Higgins, N. Atlas*, N. Sparkes* Hayati Inta Backing Vocals – Sofiane SaidiBacking Vocals, Flute [Djouwak], Performer [Tabel], Handclaps, Arranged By – Hamid BenkouiderBacking Vocals, Oud, Lute [Gambri], Drums 3 3:57 [Bendir], Zurna, Percussion [Karkabou], Programmed By, Arranged By – Yazid FentaziDouble Bass – Bernard O'NeillGuitar – Count DubulahProducer – Hamid Benkouider, Natacha Atlas, Philip BagenalWritten-By – M. Eagleton*, N. Atlas* Ghanwah Bossanova Double Bass, Piano – Bernard O'NeillDrums – Brother PDrums, Programmed By, Percussion 4 [Riq], Shaker, Shaker [Shell], Cymbal [Zills], Goblet Drum [Darabuka], Drums [Bendir] – 6:29 Neil SparkesGuitar, Programmed By, Keyboards, Strings – Count DubulahWritten-By – Dubulah*, N. Atlas*, N.
    [Show full text]
  • Physical Education Dance (PEDNC) 1
    Physical Education Dance (PEDNC) 1 Zumba PHYSICAL EDUCATION DANCE PEDNC 140 1 Credit/Unit 2 hours of lab (PEDNC) A fusion of Latin and international music-dance themes, featuring aerobic/fitness interval training with a combination of fast and slow Ballet-Beginning rhythms that tone and sculpt the body. PEDNC 130 1 Credit/Unit Hula 2 hours of lab PEDNC 141 1 Credit/Unit Beginning ballet technique including barre and centre work. [PE, SE] 2 hours of lab Ballroom Dance: Mixed Focus on Hawaiian traditional dance forms. [PE,SE,GE] PEDNC 131 1-3 Credits/Units African Dance 6 hours of lab PEDNC 142 1 Credit/Unit Fundamentals, forms and pattern of ballroom dance. Develop confidence 2 hours of lab through practice with a variety of partners in both smooth and latin style Introduction to African dance, which focuses on drumming, rhythm, and dances to include: waltz, tango, fox trot, quick step and Viennese waltz, music predominantly of West Africa. [PE,SE,GE] mambo, cha cha, rhumba, samba, salsa. Bollywood Ballroom Dance: Smooth PEDNC 143 1 Credit/Unit PEDNC 132 1 Credit/Unit 2 hours of lab 2 hours of lab Introduction to dances of India, sometimes referred to as Indian Fusion. Fundamentals, forms and pattern of ballroom dance. Develop confidence Dance styles focus on semi-classical, regional, folk, bhangra, and through practice with a variety of partners. Smooth style dances include everything in between--up to westernized contemporary bollywood dance. waltz, tango, fox trot, quick step and Viennese waltz. [PE,SE,GE] [PE,SE,GE] Ballroom Dance: Latin Irish Dance PEDNC 133 1 Credit/Unit PEDNC 144 1 Credit/Unit 2 hours of lab 2 hours of lab Fundamentals, forms and pattern of ballroom dance.
    [Show full text]
  • Middle Eastern Music and Dance Since the Nightclub Era
    W&M ScholarWorks Arts & Sciences Book Chapters Arts and Sciences 10-30-2005 Middle Eastern Music and Dance since the Nightclub Era Anne K. Rasmussen William and Mary, [email protected] Follow this and additional works at: https://scholarworks.wm.edu/asbookchapters Part of the Ethnomusicology Commons Recommended Citation Rasmussen, A. K. (2005). Middle Eastern Music and Dance since the Nightclub Era. Anthony Shay and Barbara Sellers-Young (Ed.), Belly Dance: Orientalism, Transnationalism, And Harem Fantasy (pp. 172-206). Mazda Publishers. https://scholarworks.wm.edu/asbookchapters/102 This Book Chapter is brought to you for free and open access by the Arts and Sciences at W&M ScholarWorks. It has been accepted for inclusion in Arts & Sciences Book Chapters by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. B E L L .v C)ri enta ·l•i S.:I_I_ Transnationalism & Harem Fantasy FFuncling�orthe publication ofthis v\olume w\ as pro\Iv idcd in part by a grant from ✓ Ther Iranic a Institute, Irv\i ine California and b)y TThe C A. K. Jabbari Trust Fund Mazda Publisher• s Academic Publishers P.O. Box 2603 Co st a Mesa, CCa lifornia 92626 Us .S. A . \\ ww.mazdapub.com Copyright © 2005 by Anthony Shay and Barbara Sellers-Young All rights resserved. ' No parts of this publication may be reproduced or transmitted by any form or by any means without written permission from the publisher except in the case of brief quotations embodied in critical articles and re iews. Library of Congress Cataloging-in-Publication Data Belly Dance: Orientalism.
    [Show full text]
  • Belly Dance: an Example of Cultural Authentication? Redacted for Privacy Abstract Approved
    AN ABSTRACT OF THE THESIS OF Jennie L. Embree for the degree of Master of Science in Apparel, Interiors, Housing, and Merchandising presented on September 24, 1998. Title: Belly Dance: An Example of Cultural Authentication? Redacted for Privacy Abstract Approved: Elaine Pedersen Cultural authentication is a concept that was developed by Erekosima (1979), Erekosima and Eicher (1981), and Eicher and Erekosima (1980, 1995) to aid in the description of the transfer of artifacts from one culture to another. The purpose of this study was to investigate whether the development of belly dance costume in the United States is an example of cultural authentication and, in so doing, further test and refine the concept of cultural authentication. Contemporary belly dance costume in the United States was described after conducting field research of the belly dance community over a period of ten months. The history of belly dance and its associated costume in America was explored through the review of previous historical research. Belly dance and its associated costume in the United States was then analyzed in terms of cultural authentication by addressing a series of seven questions. These seven questions were formulated to determine whether the four levels of cultural authentication (selection, characterization, incorporation, and transformation) occurred, and whether they occurred in that order. Contemporary belly dance costume in the United States was classified into two categories: replicated and creatively interpreted. The dancer who wears replicated costumes believes that he/she is imitating, to the best of his/her ability, a documented style of dress worn by a specific ethnic group, at a specific time, within the areas of the Near and Middle East.
    [Show full text]
  • Corel Ventura
    Anthropology / Middle East / World Music Goodman BERBER “Sure to interest a number of different audiences, BERBER from language and music scholars to specialists on North Africa. [A] superb book, clearly written, CULTURE analytically incisive, about very important issues that have not been described elsewhere.” ON THE —John Bowen, Washington University CULTURE WORLD STAGE In this nuanced study of the performance of cultural identity, Jane E. Goodman travels from contemporary Kabyle Berber communities in Algeria and France to the colonial archives, identifying the products, performances, and media through which Berber identity has developed. ON In the 1990s, with a major Islamist insurgency underway in Algeria, Berber cultural associations created performance forms that challenged THE Islamist premises while critiquing their own village practices. Goodman describes the phenomenon of new Kabyle song, a form of world music that transformed village songs for global audiences. WORLD She follows new songs as they move from their producers to the copyright agency to the Parisian stage, highlighting the networks of circulation and exchange through which Berbers have achieved From Village global visibility. to Video STAGE JANE E. GOODMAN is Associate Professor of Communication and Culture at Indiana University. While training to become a cultural anthropologist, she performed with the women’s world music group Libana. Cover photographs: Yamina Djouadou, Algeria, 1993, by Jane E. Goodman. Textile photograph by Michael Cavanagh. The textile is from a Berber women’s fuda, or outer-skirt. Jane E. Goodman http://iupress.indiana.edu 1-800-842-6796 INDIANA Berber Culture on the World Stage JANE E. GOODMAN Berber Culture on the World Stage From Village to Video indiana university press Bloomington and Indianapolis This book is a publication of Indiana University Press 601 North Morton Street Bloomington, IN 47404-3797 USA http://iupress.indiana.edu Telephone orders 800-842-6796 Fax orders 812-855-7931 Orders by e-mail [email protected] © 2005 by Jane E.
    [Show full text]
  • What Is Belly Dance?
    What Is Belly Dance? THE PYRAMID DANCE CO. INC. was originally founded in Memphis 1987. With over 30 years Experience in Middle Eastern Dance, we are known for producing professional Dancers and Instructors in belly dancing! The company’s purpose is to teach, promote, study, and perform belly dance. Phone: 901.628.1788 E-mail: [email protected] PAGE 2 CONTACT: 901.628.1788 WHAT IS BELLY DANCE? PAGE 11 What is the belly dance? Sadiia is committed to further- ing belly dance in its various The dance form we call "belly dancing" is derived from forms (folk, modern, fusion , traditional women's dances of the Middle East and interpretive) by increasing pub- North Africa. Women have always belly danced, at lic awareness, appreciation parties, at family gatherings, and during rites of pas- and education through per- sage. A woman's social dancing eventually evolved formances, classes and litera- into belly dancing as entertainment ("Dans Oryantal " in ture, and by continuing to Turkish and "Raqs Sharqi" in Arabic). Although the his- study all aspects of belly tory of belly dancing is clouded prior to the late 1800s, dance and producing meaning- many experts believe its roots go back to the temple ful work. She offers her stu- rites of India. Probably the greatest misconception dents a fun, positive and nur- about belly dance is that it is intended to entertain men. turing atmosphere to explore Because segregation of the sexes was common in the movement and the proper part of the world that produced belly dancing, men of- techniques of belly dance, giv- ten were not allowed to be present.
    [Show full text]
  • The ABDC 2021 Workshop Descriptions and Bios
    The ABDC 2021 Workshop Descriptions and Instructor Bios Table of Contents below alphabetical Ahava 2 Workshop Title: All the Feels 2 Workshop Title: Classical Egyptian Technique and Combos 2 Amara 3 Workshop Title: Let’s Prepare for an Amazing Week of Dance! - Free 3 Workshop Title: Let’s Talk about Swords 3 Amel Tafsout 4 Workshop Title: Nayli Dance of the Ouled Nayl 4 Workshop Title: City Dances: Andalusian Court Dance with Scarves 6 April Rose 8 Workshop Title: Dance as an Offering 8 Arielle 9 Workshop Title: Egyptian Street Shaabi: Mahraganat Choreography 9 Athena Najat 10 Workshop Title: Oriental Roots in Anatolia: Exploring the Greek branch of the Bellydance Tree 10 Bahaia 11 WorkshopTitle: Takht & Tahmila 11 DeAnna 12 Workshop Title: Spins and Turns! 12 Devi Mamak 14 Workshop Title: Hot Rhythms, Cool Head 14 Lily 15 WorkshopTitle: Rhythms 101 15 Loaya Iris 15 WorkshopTitle: Let’s Go Pop! Modern Egyptian Style Technique and Combos. 15 Nessa 16 WorkshopTitle: Finding the Muse Within 16 Mr. Ozgen 17 WorkshopTitle: Turkish Bellydance 17 WorkshopTitle: Romani Passion 17 Roshana Nofret 18 Workshop Title: Poetry in Motion: Exquisite Arms & Hands for All Dancers 18 Stacey Lizette 19 Workshop Title: By Popular Demand: A Customized Workshop Experience Based Exploring Common Challenges 19 Ahava Workshop Title: All the Feels Date/Time: Sunday, June 27, 2021,10-12pm Central Time Workshop Description: Do you need help with stage presence? Connecting to your audiences? Courage to push through the fourth wall on stage and fully entertain a crowd? Ahava presents exercises, tips and combinations on how to emote while on stage.
    [Show full text]
  • An Analysis of the Characteristics of Balinese Costume - Focus On The Legong Dance Costume
    Print ISSN 1229-6880 Journal of the Korean Society of Costume Online ISSN 2287-7827 Vol. 67, No. 4 (June 2017) pp. 38-57 https://doi.org/10.7233/jksc.2017.67.4.038 An Analysis of the Characteristics of Balinese Costume - Focus on the Legong Dance Costume - Langi, Kezia-Clarissa · Park, Shinmi⁺ Master Candidate, Dept. of Clothing & Textiles, Andong National University Associate Professor, Dept. of Clothing & Textiles, Andong National University⁺ (received date: 2017. 1. 12, revised date: 2017. 4. 11, accepted date: 2017. 6. 16) ABSTRACT1) Traditional costume in Indonesia represents identity of a person and it displays the origin and the status of the person. Where culture and religion are fused, the traditional costume serves one of the most functions in rituals in Bali. This research aims to analyze the charac- teristics of Balinese costumes by focusing on the Legong dance costume. Quantitative re- search was performed using 332 images of Indonesian costumes and 210 images of Balinese ceremonial costumes. Qualitative research was performed by doing field research in Puri Saba, Gianyar and SMKN 3 SUKAWATI(Traditional Art Middle School). The paper illus- trates the influence and structure of Indonesian traditional costume. As the result, focusing on the upper wear costume showed that the ancient era costumes were influenced by animism. They consist of tube(kemben), shawl(syal), corset, dress(terusan), body painting and tattoo, jewelry(perhiasan), and cross. The Modern era, which was shaped by religion, consists of baju kurung(tunic) and kebaya(kaftan). The Balinese costume consists of the costume of participants and the costume of performers.
    [Show full text]
  • 2587Booklet.Pdf
    ENGLISH P. 2 DEUTSCH S. 5 Discover Bellydance with ARC Music Bellydance is the common name for the dance of the Arabic and 1. Storm over Giza Middle Eastern world – or the dance of the orient. EUCD2316 Egypt Unveiled – Hossam Ramzy & Phil Thornton An ARC Music Production. The term bellydance is actually a misnomer, as the emphasis is on several body parts, and perhaps most noticeably on the hips. A skilled Following the huge success of the previous albums Eternal Egypt, dancer uses certain movements to interpret specific characteristics Immortal Egypt and Enchanted Egypt, Phil Thornton and Hossam Ramzy of the various instruments. In fact, translating the music this way is present Egypt Unveiled, crowning the trilogy. A magnificent album, so integral to the art form that musician and bellydance historian echoing the majesty of the pyramids, revealing the mystery of Egypt in Hossam Ramzy – included on this collection – has said that the dancer a 21st century guise. is the “final musical instrument of the orchestra” (article: ‘You Are a Musical Instrument’ at hossamramzy.com). 2. Sehr Oyounik EUCD1305 Source of Fire – Hossam Ramzy Bellydance is in itself a fusion. It has been influenced by Ottoman, Licensed from Hossam Ramzy. Indian, Persian, Greek and other civilizations, and in today’s modern world, its rhythms can be found in hits by some of the planet’s biggest An album of emotional compositions delving into the untapped, pop stars. heartfelt melodies that have been burning inside Egypt’s most virtuoso soloists, the Hossam Ramzy Egyptian Ensemble. While Source This collection highlights several forms of bellydance from Lebanon, of Fire follows Hossam’s high standard in dance pieces it washes onto Turkey, Tunisia, Egypt, Libya, Morocco and even Macedonia.
    [Show full text]
  • Glossary Ahengu Shkodran Urban Genre/Repertoire from Shkodër
    GLOSSARY Ahengu shkodran Urban genre/repertoire from Shkodër, Albania Aksak ‘Limping’ asymmetrical rhythm (in Ottoman theory, specifically 2+2+2+3) Amanedes Greek-language ‘oriental’ urban genre/repertory Arabesk Turkish vocal genre with Arabic influences Ashiki songs Albanian songs of Ottoman provenance Baïdouska Dance and dance song from Thrace Čalgiya Urban ensemble/repertory from the eastern Balkans, especially Macedonia Cântarea României Romanian National Song Festival: ‘Singing for Romania’ Chalga Bulgarian ethno-pop genre Çifteli Plucked two-string instrument from Albania and Kosovo Čoček Dance and musical genre associated espe- cially with Balkan Roma Copla Sephardic popular song similar to, but not identical with, the Spanish genre of the same name Daouli Large double-headed drum Doina Romanian traditional genre, highly orna- mented and in free rhythm Dromos Greek term for mode/makam (literally, ‘road’) Duge pjesme ‘Long songs’ associated especially with South Slav traditional music Dvojka Serbian neo-folk genre Dvojnica Double flute found in the Balkans Echos A mode within the 8-mode system of Byzan- tine music theory Entekhno laïko tragoudhi Popular art song developed in Greece in the 1960s, combining popular musical idioms and sophisticated poetry Fanfara Brass ensemble from the Balkans Fasil Suite in Ottoman classical music Floyera Traditional shepherd’s flute Gaida Bagpipes from the Balkan region 670 glossary Ganga Type of traditional singing from the Dinaric Alps Gazel Traditional vocal genre from Turkey Gusle One-string,
    [Show full text]
  • “A Committed, Euphoric International Coalition.”
    “a committed, euphoric international coalition.” Bio Founded in 2011 by Egyptian ethnomusicologist Mina Girgis and Ethiopian-American singer Meklit Hadero, the Nile Project is one of the tightest cross-cultural musical collaborations in history. Working to raise awareness of the entire Nile River basin as an ecosystem, the 27- member Nile Project collective hail from all along the great river that connects 11 countries and over 400 million people—a region that has been marred by political and ecological conflicts—from its sources beyond Lake Victoria to its delta in Egypt. Resonant harps and lyres from up and down the river have learned new musical modes, while buzzing timbres and ingenious polyrhythms support vocals in more than 10 languages. Instruments that parted ways millennia before are reunited and pushed into new places. Love songs have crossed geographic and linguistic barriers to forge new, close friendships. The Nile Project’s collaborative model is a blueprint for a new way to organize the Nile. In January 2015, the Nile Project embarked on a 4 month US tour performing 50 concerts with stops at the Lincoln Center, the United Nations and residencies at 30 universities. Using music to spark cultural curiosity and engage audiences, the Nile Project encourages them to feel connected to the river and to explore new approaches to its large- scale problems. In an evolving series of interlocking programs that spring from the musical experience, the project aims to inspire, educate and empower young people worldwide to become Nile Citizens. Full Bio at www.nileproject.org/music Musicians Only US Tour musicians are featured in this publication.
    [Show full text]