{"id":2123,"date":"2020-10-12T13:33:00","date_gmt":"2020-10-12T12:33:00","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=2123"},"modified":"2023-07-13T15:48:15","modified_gmt":"2023-07-13T14:48:15","slug":"tahia-carioca","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/tahia-carioca\/","title":{"rendered":"Tahia Carioca Bint al Balad Laban Movements Analysis (5.3.1)"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter size-full\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/tahia-carioca-dancer.jpg\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/tahia-carioca-dancer.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/tahia-carioca-dancer.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/tahia-carioca-dancer-300x169.jpg 300w\" decoding=\"async\" width=\"560\" height=\"315\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Tahia Carioca belly dancer\" class=\"wp-image-2125 lazyload\"  sizes=\"(max-width: 560px) 100vw, 560px\" \/><noscript><img decoding=\"async\" width=\"560\" height=\"315\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/tahia-carioca-dancer.jpg\" alt=\"Tahia Carioca belly dancer\" class=\"wp-image-2125\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/tahia-carioca-dancer.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/tahia-carioca-dancer-300x169.jpg 300w\" sizes=\"(max-width: 560px) 100vw, 560px\"><\/noscript><\/a><\/figure>\n\n\n\n<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_88 counter-hierarchy ez-toc-counter ez-toc-grey ez-toc-container-direction\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<label for=\"ez-toc-cssicon-toggle-item-6ab5ba69298f4\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #999;color:#999\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #999;color:#999\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-6ab5ba69298f4\" checked aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/worlddanceheritage.org\/tahia-carioca\/#Who_is_Tahia_Carioca\" >Who is Tahia Carioca<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/worlddanceheritage.org\/tahia-carioca\/#First_Solo_Choreography_and_Beginning_of_Career\" >First Solo Choreography and Beginning of Career<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/worlddanceheritage.org\/tahia-carioca\/#Background_and_Baladi_Values\" >Background and Baladi Values<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/worlddanceheritage.org\/tahia-carioca\/#Bint_al_Balad\" >Bint al Balad<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/worlddanceheritage.org\/tahia-carioca\/#Movement_Style_of_Tahia_Carioca\" >Movement Style of Tahia Carioca<\/a><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Who_is_Tahia_Carioca\"><\/span>Who is Tahia Carioca<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Tahia Carioca\u2019s name (in Arabic: \u0643\u0627\u0631\u064a\u0648\u0643\u0627\u200e \u062a\u062d\u064a\u0629) can be transliterated in many different ways, including Taheyya Kariokka or Tahiya Karioka.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In my writing, I will use Tahia Carioca, while in the quotations from other sources I will use whatever transliteration the author uses.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There are various biographies of Tahia online, including some from authoritative sites on belly dance by authors such as Nermine Azzazy (1999), Sausan (Molthen, no date), Said (1999), Sloane Hirt (2012), and interviews with Tahia herself, talking about her life: (Belly Dance Classics, no date; Sami, no date; Cifuentes, 1994, 1999).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">According to <a aria-label=\" Sausan (opens in a new tab)\" href=\"http:\/\/www.gildedserpent.com\/art43\/sausanTK.htm\" target=\"_blank\" rel=\"noreferrer noopener\">Sausan<\/a>, Tahia was born Badawiya Mohamed Karim Ali Sayed in 1919 in Manzala, a small village by the Delta of the Nile and she then moved to Ismalia where she started dancing when she was a teenager.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Tahia started her Arabic dance career with Badia Masabni, as Tahia herself recalls:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">I had ten years of ballet before I decided to become an Arabic dancer. I started with the group. . . . Everybody worked with Badia: Samia, Farid, all the great singers of that time.<\/p>\n<cite>Cifuentes (1994, para. 24) <\/cite><\/blockquote>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"First_Solo_Choreography_and_Beginning_of_Career\"><\/span>First Solo Choreography and Beginning of Career<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Tahia was given\nher stage name after a Latin American dance called Carioca, as the first solo\nchoreography that was created for Tahia was loosely based on this type of\ndance. According to Sausan (Molthen, no date, para. 7):<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">This introduction of the new Brazilian Karioka dance of Carmen Miranda was so liked that she grew more popular with a variety of solos in which she utilized this form of dance that she became affectionately known as Taheyia Karioka.<\/p>\n<cite>Sausan (Molthen, no date)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Tahia Carioca started acting and dancing in Egyptian movies from 1935 until the late 1980s.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, she danced only until the early 1960s, after which she only acted, with the exception of the 1972 film \u2018<em>Khali balek min Zouzou\u2019<\/em> (<em>Watch out for Zouzou<\/em>) (TheCaroVan, 2014n).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The apex of her dancing career was in the 1940s and 50s so much so that, \u2018in the late 1940\u2019s [<em>sic<\/em>], Taheyia danced only at the more important functions held by or for the King and other royalty (Molthen, no date, para. 12)\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Tahia was a political activist and an active member of the Actors\u2019 Syndicate. As a result, she was arrested several times (Molthen, no date; Said, 1999). She died at the age of 79, in a Cairo hospital, from a heart attack (Said, 1999).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">She was strong and independent and she once said: \u2018A lot of people think I am impolite but I am not . . . I&#8217;m straightforward. I will tell the wicked to his own face\u2019 (Sami, no date, para. 23) and:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">I grew up with my grandmother. She was very strict. When I had any fights with girls or boys, and I went to her crying, she said to me: \u201cGo clean your face. When you hit them, then come back. I\u2019ll give you money. If you respect yourself in Egypt, you can go anywhere.\u201d (Cifuentes, 1994, para. 32,33)<\/p>\n<cite>(Sami, no date, para. 23)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Background_and_Baladi_Values\"><\/span>Background and Baladi Values<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Tahia-Carioca-1941.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Tahia-Carioca-1941.jpg 430w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Tahia-Carioca-1941-300x213.jpg 300w\" decoding=\"async\" width=\"430\" height=\"305\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Tahia Carioca in 1941\" class=\"wp-image-2131 lazyload\"  sizes=\"(max-width: 430px) 100vw, 430px\" \/><noscript><img decoding=\"async\" width=\"430\" height=\"305\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Tahia-Carioca-1941.jpg\" alt=\"Tahia Carioca in 1941\" class=\"wp-image-2131\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Tahia-Carioca-1941.jpg 430w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Tahia-Carioca-1941-300x213.jpg 300w\" sizes=\"(max-width: 430px) 100vw, 430px\"><\/noscript><figcaption class=\"wp-element-caption\"><strong>Figure 14 &#8211; <\/strong>Tahia Carioca in the 1941 movie <em>Leila-bint-al-Rif <\/em>(Leila, daughter of the countryside). Image taken from video still <br>(TheCaroVan, 2014)<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Her personality and background, so influenced by Baladi values, are reflected in the way Tahia danced.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">She was very grounded and she could dance in very small spaces: \u2018Mohamad Abd El Wahab would say that \u2018Taheyia was able to show a great deal of movement in such a very little space\u2019 (Molthen, no date, para. 8).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Her style is considered to be the most authentic, traditional style, as opposed to Samia Gamal, her contemporary, who was very light, fluid, and moved more in space with turns and traveling steps.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Although Tahia studied ballet when she was young, her Raqs sharqi style was never over-influenced by it. She used steps inspired by ballet, such as the arabesque, but hers was small and grounded.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Bint_al_Balad\"><\/span>Bint al Balad<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">She was considered by most a true \u2018<em>bint al bala<\/em>d\u2019 (daughter of the country) (Adum, no date, pt.Second Segment-About Taheya Carioca &amp; Samia Gamal) and \u2018Tahia is remembered as a dancer of the people for her film roles as a <em>bint al-balad<\/em> . . . a woman of a working-class background\u2019 (Shay and Sellers-Young, 2005, p. 20).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In 5.3.5, I will return to Tahia\u2019s personality and background, to analyze how these can have influenced her approach to Raqs sharqi, using concepts from the Living Heritage Framework. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Second Segment-About Taheya Carioca &amp; Samia Gamal) and \u2018Tahia is remembered as a dancer of the people for her film roles as a bint al-balad . . . a woman of a working-class background\u2019 (Shay and Sellers-Young, 2005, p. 20).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In 5.3.5, I will return to Tahia\u2019s personality and background, to analyze how these can have influenced her approach to Raqs sharqi, using concepts from the Living Heritage Framework. <\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Movement_Style_of_Tahia_Carioca\"><\/span>Movement Style of Tahia Carioca<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/carioca-movement-style.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/carioca-movement-style.jpg 687w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/carioca-movement-style-300x220.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/carioca-movement-style-546x400.jpg 546w\" decoding=\"async\" width=\"687\" height=\"503\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"\" class=\"wp-image-2140 lazyload\"  sizes=\"(max-width: 687px) 100vw, 687px\" \/><noscript><img decoding=\"async\" width=\"687\" height=\"503\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/carioca-movement-style.jpg\" alt=\"\" class=\"wp-image-2140\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/carioca-movement-style.jpg 687w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/carioca-movement-style-300x220.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/carioca-movement-style-546x400.jpg 546w\" sizes=\"(max-width: 687px) 100vw, 687px\"><\/noscript><figcaption class=\"wp-element-caption\"><strong>Table 12<\/strong> \u2013 Tahia Carioca\u2019s Movement Style. From the research of <a href=\"https:\/\/worlddanceheritage.org\/about-us\/\">Dr Valeria Lo Iacono (2019)<\/a> <\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Table 12 \u2013 Tahia Carioca\u2019s Movement Style Table 12 summarises Tahia Carioca\u2019s dancing style, evinced through the video analysis.<\/p>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">Her style was grounded and sustained, with the exception of some sudden hip movements, and, overall, very relaxed and with small and contained hip movements.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Another dancer from the same era, who had a very relaxed and languid style was <a aria-label=\"Hagar Hamdi (opens in a new tab)\" rel=\"noreferrer noopener\" href=\"https:\/\/www.imdb.com\/name\/nm1263530\/\" target=\"_blank\">Hagar Hamdi<\/a>. <a href=\"#one\">[4]<\/a> It seems that relaxation is a key characteristic of the most traditional, old school, Raqs sharqi styles.<\/p>\n\n\n\n<p class=\"has-vivid-red-color has-white-background-color has-text-color has-background wp-block-paragraph\"><strong><span style=\"text-decoration: underline;\">Next Page &gt;&gt; <a href=\"https:\/\/worlddanceheritage.org\/samia-gamal\/\">Samia Gamal \u2013 The Innovating \u2018Modern Woman\u2019 <\/a><\/span><\/strong><\/p>\n\n\n\n<hr class=\"wp-block-separator has-css-opacity\"\/>\n\n\n\n<p class=\"wp-block-paragraph\">1. The same will apply for the names of other dancers in this thesis, as Arabic words can have many different transliterations in Latin characters.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">2. Molthen (no date, para. 15) reports that, in 1953, Tahia founded a party that supported \u2018post-revolution return to constitutional democracy and because of that she was jailed for 101 days\u2019. While in prison, she went on a hunger strike to protest against the physical abuse of prisoners (Molthen, no date; Sellers-Young, 2016, p. 27). In 1987, she went on \u2018strike to protest against a new set of laws that would have impacted on actors\u2019 livelihood\u2019 (Sellers-Young, 2016 p. 27).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">3. \u2018Bint al balad\u2019 is defined by Zuhur (1992, p. 8) as literally \u2018daughter of the town . . . an urban lower class woman\u2019 who embraces traditional values. Similarly, Early (1993, p. 203) defines her as \u2018woman from a traditional urban quarter\u2019. El-Messiri (1978, pp. 90\u201394) describes a bint al balad as a conservative woman, but less so and more modern than women form rural communities; somebody who is confident, down to earth, quick-witted, who works hard, and who is not afraid of standing up to men trying to molest her.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">4. She danced in various movies in the 1940s and 50s (Ramzy, no date a) and she started her career in Badia Masabni\u2019s nightclub (Chamas, 2009).<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><a href=\"https:\/\/tinyurl.com\/y3gnysmb\" target=\"_blank\" rel=\"noreferrer noopener\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/dance-binarism-paper.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/dance-binarism-paper.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/dance-binarism-paper-480x270.jpg 480w\" decoding=\"async\" width=\"560\" height=\"315\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"\" class=\"wp-image-15476 lazyload\"  sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) 560px, 100vw\" \/><noscript><img decoding=\"async\" width=\"560\" height=\"315\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/dance-binarism-paper.jpg\" alt=\"\" class=\"wp-image-15476\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/dance-binarism-paper.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/dance-binarism-paper-480x270.jpg 480w\" sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) 560px, 100vw\"><\/noscript><\/a><\/figure>\n\n\n\n<p class=\"has-vivid-red-color has-white-background-color has-text-color has-background wp-block-paragraph\"><strong>Next Page &gt;&gt; <span style=\"text-decoration: underline;\"><a href=\"https:\/\/worlddanceheritage.org\/samia-gamal\/\">Samia Gamal \u2013 The Innovating \u2018Modern Woman\u2019 <\/a><\/span><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Who is Tahia Carioca Tahia Carioca\u2019s name (in Arabic: \u0643\u0627\u0631\u064a\u0648\u0643\u0627\u200e \u062a\u062d\u064a\u0629) can be transliterated in many different ways, including Taheyya Kariokka or Tahiya Karioka. In my writing, I will use Tahia Carioca, while in the quotations from other sources I will use whatever transliteration the author uses. There are various biographies of Tahia online, including [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":2125,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[20],"tags":[],"class_list":["post-2123","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-raqs-sharqi"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Tahia Carioca Bint al Balad laban analysis for belly dance (5.3.1)<\/title>\n<meta name=\"description\" content=\"Who is Tahia Carioca? Her first solo choreography, career, background, and Baladi values. 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