Rules for Dancing

Introduction (part 1) | Arabian Music (part 2) | Rules for Dancing (part 3)

Rules for Dancing

RULES FOR DANCING WITH A SOLO-ING INSTRUMENT

Nay:
Always use fluid arm movements, figures of 8’s, as well as add that famous spiritual expression on your face. Keeping in mind whether or not it is played fluidly or rhythmically, or without rhythm, and the musical accents of the solo as well as any call and reply between the Nay and the orchestra.

Quanoon:
Shimmy, shimmy, shimmy, but always pay strong attention to the rhythm and the musical accents of the solo as well as the orchestral call and reply between.

Aud (Lute):
Same as the Quanoon.

Violin:
This is the one to watch out for. As the violin can play long drawn notes as well as fast choppy type tremelendo sounds. When the violin is doing “Legato” sounds, longish fluid drawn notes without stops in between, you follow what he is doing with your movement. Fig. 8’s, with arms and fluidity. If he does tremelendo sounds (fast rhythmic parts), you know what to do.

Accordion:
Same as violin, but it’s more earthy and Baladi.

The basic rule is simpleE = E

The soloist does a sound this long /// you move this long ///. He makes a sound fo this long //////, you move for this long //////. He goes ~~~~~~~~~~, you go ~~~~~~~~~~. He does XXXXXXXXXX You do XXXXXXXXXX.

The same thing applies to the orchestral sound, but with large movement, and with greater use of the space. If in the middle of the soloing part you have a question and answer between soloist and orchestra, reply with the orchestra with larger movement, even a spin or changing of position, according to the sound of the orchestra, then move back to what you were doing with the soloist.

Then when the orchestra plays a big LAZMAH, then you move larger movements and you choreograph that accordingly, with special attention to stops, rhythmic changes and speed of the musical part.

All this does not infringe on artistic interpretation, or aesthetic input, however, I know that unless that it corresponds to the music in this manner, in my personal eyes it’s neither artistic nor aesthetic. This is MY PERSONAL OPINION and I know it to be the opinion of the Arabian audience.

Oh boy, I know I have opened my big mouth now, but it’s because I feel you want to know, and have not been told before.

Not many people know what I have just told you, even some big and famous named dancers and choreographers and even famous teachers I don’t wish to mention any names for obvious reasons.

I hope I have helped, my aim is to let you know and to help you to become a more KNOWLEDGABLE DANCER.

Please don’t let my hot blooded attitude in my writing affect your views on the deeply felt message I am trying to pass on. It is my burning ambition that our beloved dance and art, to which I have dedicated my whole life, be applied in a way that will reach others and make it more loved and respected by all. Egyptian/Middle Eastern dance will only progress if we know it’s science, and study it as one. Look at what they are doing with Ballet, Jazz Dance, Indian Kathakaly, Flamenco, Balinese Baris Dancing and other Indonesian dances. They are considered as a science and are studied rigorously and are highly respected worldwide.

Why is our dance considered LOW by the people who invented it? It is because they did not make it into a science otherwise they would have all been killing themselves for that CERTIFICATE that they can hang on the wall of their offices, which opens all the doors. In the Arabian world as well as many others, if you are not Doctor this or Lawyer that you are a NOBODY. Sad But True. I grieve because of it….

Knowledge commands responsibility, and control.. and the knowledge is here for you on a silver plate

Happy dancing With lots Of Rhythm
Hossam Ramzy.