Zeinab Part 2

Introduction | Part 1 | Part 2

But you see, the audience want to see Zeinab dancing to the full. So, when the ice is broken a little, the rhythm is introduced bit by bit again. How is this done? The Taqsim is resolved and settled back to the opening key (The musical scale it was started on) then the instrumentalist does a question and answer with the drummer. The question and answer both fit into one bar of rhythm at the same speed as if and when it continues and they play together, but in a Q & A style. The melody plays 2 an 3 – Then the drums play 4 an 1 and For FOUR TIMES, or Eight times, playfully teasing and urging Zeinab to dance more with the rhythm, till they feel that all is well with all concerned Especially Hubby…the LION of all LIONS and then they start the continuous Maqsoum rhythm part. This Question and Answer part is called Me-Attaa. Meaning broken up bits of music and rhythm.

Once the rhythm is established, and then Zeinab will dance, but still conservatively but coyly, expressing more sensuality that is reserved and a personal feminine touch.
But, by then the musicians know that it’s okay and after a little bit more they go into a different type of question and answer = Me-Attaa. This is shorter faster and indicates that a possibility of a faster rhythm can come.

Then they go into the up-tempo Maqsoum. By then Zeinab is free from all inhibitions and what the heck, it’s her sister’s wedding anyway, and she knows, she has teased her husband to total frustrated silent and chained madness that nothing matters…But she also knows the absolute sweet treacle like honey way with which she has him wrapped around her little finger…So out comes the ONE AND ONLY DANCE STEP THAT IS TRUE AND TRADITIONAL AND KNOWN TO ALL EGYPTIAN WOMEN, THE HIP SWERVES. (Please refer to Habibi Magazine article on Hossam, it is well explained there)
And the wedding is on blissful fire. In this part, also the music plays a very nostalgic sound for the Egyptian Folks people, the sound of the Mizmar…. It sounds like accents on the 2 & 4:

4/4
1
2
3
4
|
1
2
3
4
Tiit
Toot
Teet
Teit

And so on. This is why this part is called the TET.

This could go on for some time, but then the ultimate thing is the going home for the BALADI PEOPLE, isn’t it? That is going back to the roots, the countryside, the farms and farm life, the Fallahy lifestyle, so here comes another Me-Attaa but this Q & A will slow down gradually so that you can PULL out the FALLAHI Rhythm from that faster Maqsoum. (Pulled out in Egyptian means Magrour) which is in essence, the Fallahy Rhythm.

To this they normally do the Egyptian Walk (to the Yankees – Shimmy Walk). Also TeT could be played on the Fallahy.

Then enough is enough, now you have seen it all, and let’s face it, hubby is about to burst a rib grinning so wide and smiling so deep and pretending he is not jealous really. As the musicians were the ones who brought it into this frenzy of dance and music (in Zeinab’s mind and justifications to her husband), they have to calm things down gradually or the people will go too wild if she stops suddenly, so they slow it down and down and down till it is back to the original Awwady Taqsim and a gentle stop. This is how and why a BALADI woman would dance the Baladi.

This has been incorporated on stage in almost every dance show in the nightclubs because of the need to have variety in the club’s program. You may say to yourself, well what is CABARET dancing then. Basically it is RAQS SHARQI. As in the night clubs, they do a bit of a SOPHISTICATED introduction piece of music which they dance wearing a two piece costume, as a Baladi woman would never be seen dead in a two-piece cabaret costume, which is a SHARQI thing [[[[ Many people mistakenly called that classical style costume, but it is not, this is a relatively new idea that came about in the night clubs and is governed by the laws of the land of how much can be exposed and shown off by the so-called “Raqs Sharqui dancers, who if were given half a -8- chance at that time, they would have exposed a lot more than you can imagine]]] then they go off stage to change to the one piece THOUB ( Dress) ( The Baladi thing to wear ) to do a Baladi or another tableau of folklore then Baladi or to Saaidi then Baladi, it all leads to the Baladi. Then Drum Solo then the Out-ro.

Check out any Baladi piece, by any musician, on any recording or on any dance video and see if this does not apply, but now, you know the reason why they invented it and how it came about.

If you were to ask me who does the best ever, Baladi dance in Egypt today the answer is simple LUCY. Before that it was Lady Nagwa Fouad the phrase, El Baladi Youkal, is a thing that street sellers call out for their homegrown produce, meaning that it is Baladi and edible…so is ZEINAB. Big hand for Zeinab.

With Lots Of Rhythm
Hossam Ramzy.

 

Introduction | Part 1 | Part 2