{"id":2142,"date":"2019-05-08T15:09:29","date_gmt":"2019-05-08T14:09:29","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=2142"},"modified":"2023-08-13T13:06:34","modified_gmt":"2023-08-13T12:06:34","slug":"samia-gamal","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/samia-gamal\/","title":{"rendered":"Samia Gamal Belly Dancer Laban Movement Analysis (5.3.2)"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter size-full is-resized is-style-default\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dancer-samia-gamal.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dancer-samia-gamal.jpg 735w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dancer-samia-gamal-200x300.jpg 200w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dancer-samia-gamal-683x1024.jpg 683w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dancer-samia-gamal-534x800.jpg 534w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dancer-samia-gamal-355x533.jpg 355w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dancer-samia-gamal-267x400.jpg 267w\" decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Page about the belly dancer Samia Gamal\" class=\"wp-image-2151 lazyload\" style=\"width:342px\" width=\"342\"  sizes=\"(max-width: 735px) 100vw, 735px\" \/><noscript><img decoding=\"async\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dancer-samia-gamal.jpg\" alt=\"Page about the belly dancer Samia Gamal\" class=\"wp-image-2151\" style=\"width:342px\" width=\"342\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dancer-samia-gamal.jpg 735w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dancer-samia-gamal-200x300.jpg 200w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dancer-samia-gamal-683x1024.jpg 683w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dancer-samia-gamal-534x800.jpg 534w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dancer-samia-gamal-355x533.jpg 355w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dancer-samia-gamal-267x400.jpg 267w\" sizes=\"(max-width: 735px) 100vw, 735px\"><\/noscript><\/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-6ab5bbdc6a09b\" 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-6ab5bbdc6a09b\" 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\/samia-gamal\/#Samia_Gamal_Movement_Vocabulary\" >Samia Gamal Movement Vocabulary<\/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\/samia-gamal\/#Laban_Analysis_of_Samia_Gamals_Movement_Style\" >Laban Analysis of Samia Gamal\u2019s Movement Style<\/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\/samia-gamal\/#Samias_Background\" >Samia&#8217;s Background<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/worlddanceheritage.org\/samia-gamal\/#Memories_of_Samia_Gamal\" >Memories of Samia Gamal<\/a><\/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\/samia-gamal\/#Footnotes\" >Footnotes<\/a><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Samia_Gamal_Movement_Vocabulary\"><\/span>Samia Gamal Movement Vocabulary<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Samia Gamal (\u062c\u0645\u0627\u0644\u200e \u0633\u0627\u0645\u064a\u0629) is the most famous of the dancers of the Golden Age of Egyptian cinema.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The basic movements she used were part of the same movement vocabulary used by the other dancers of her time.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, the feeling and attitude were very different. She is the most \u2018westernised\u2019 with regards to her dancing style (Table 12 below), which is very light and lifted, with very quick and fluid movements, including very active and fluid arms and a lot of traveling steps and turns.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">According to the Egyptian dancer Dina, \u2018Tahia danced in an old-fashioned way, as if her movements were limited by an invisible circle. Samia, she made space explode\u2019 (Talaat and Guibal, 2011, p. 55).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Another modern Egyptian dancer, Lucy, \u2018elaborated that Samia Gamal was the first Raqs Sharqi dancer to incorporate beautiful arms and upper-body movements in her technique\u2019 (Rose, 2006, para. 10). Shay and Sellers-Young (2003, pp. 20\u201321) summarise the difference between the styles of Samia Gamal and Tahia Carioca, stating that:<\/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\">Their performances represent the tension between the older <em>baladi<\/em> (village) dance and its cabaret rendition. Tahia is remembered as a dancer of the people. . . . Although she incorporates the use of the arms expressively, her dances are concentrated studies in the mobility of the pelvic structure to articulate a variety of lifts, flips, and shimmies within various rhythmic and melodic structures. By contrast, Samia borrowed from ballet and American musicals to add expressive hand and body gestures that allowed her to portray a wide variety of moods and attitudes. Her make-up, hairstyle and costuming identified her as a sophisticated, modern woman.<\/p>\n<cite>Shay and Sellers-Young (2003)<\/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=\"Laban_Analysis_of_Samia_Gamals_Movement_Style\"><\/span>Laban Analysis of Samia Gamal\u2019s Movement Style<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\/laban-movement-vocabulary-gamal.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-movement-vocabulary-gamal.jpg 631w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-movement-vocabulary-gamal-300x223.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-movement-vocabulary-gamal-537x400.jpg 537w\" decoding=\"async\" width=\"631\" height=\"470\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"The Laban movement vocabulary for Samia Gamal\" class=\"wp-image-2154 lazyload\"  sizes=\"(max-width: 631px) 100vw, 631px\" \/><noscript><img decoding=\"async\" width=\"631\" height=\"470\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-movement-vocabulary-gamal.jpg\" alt=\"The Laban movement vocabulary for Samia Gamal\" class=\"wp-image-2154\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-movement-vocabulary-gamal.jpg 631w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-movement-vocabulary-gamal-300x223.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-movement-vocabulary-gamal-537x400.jpg 537w\" sizes=\"(max-width: 631px) 100vw, 631px\"><\/noscript><figcaption class=\"wp-element-caption\">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\">Samia Gamal seems the quintessential Raqs sharqi dancer.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As we will see in the following analysis though, throughout the history of Raqs sharqi, both the Baladi and the modern feelings coexist, creating a balance between tradition and innovation.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Even though each Raqs sharqi dancer had her <a href=\"#one\">[1]<\/a> own style and personality, Samia Gamal was one of the innovators rather than a traditionalist.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In 5.3.5, I will return to these concepts to identify the possible reasons for the contrast between Tahia Carioca\u2019s and Samia Gamal\u2019s styles, using my conceptual framework.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Samias_Background\"><\/span>Samia&#8217;s Background<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Samia was born in 1924 in the village of Wana el Kess and died in Cairo in 1994 (Emma, no date; Jawad, no date).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Her real name was Zeinab, but Badia gave her the stage name of Samia Gamal <a href=\"#one\">[2]<\/a> (Adum, no date), when she started working in Casino Badia. As Samia remembers:<\/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\">Badia asked me, &#8220;What&#8217;s your name, Beautiful?&#8221; and I answered &#8220;Zeinab Khalil Ibrahim Mafouz&#8221;. Badia said to me doubtfully, &#8220;Zeinab is a name for someone who sells grilled corn. From now on your name will be Samia&#8221;.<\/p>\n<cite>(Moawad, 1968, para. 10)<a href=\"#one\"> [3]<\/a><\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">From the beginning of her career, Samia\u2019s style received transcultural influences, particularly ballet, as noted in 5.2.2.1.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In addition to ballet, Samia was also trained in other non-Egyptian dance forms.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For example, in the 1952 movie <em>Ma takulshi la hada<\/em> (<em>Don\u2019t tell anyone<\/em>), there is a scene in a theatre in which she dances various genres, from Egyptian folkloric tableaux to ballroom and Hawaiian style dance (<em>The Fabulous Samia Gamal<\/em>, 2003, sec. 01:04:08).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Similarly, in the 1949 movie <em>Bahebbak inta<\/em> (<em>I love you only<\/em>), there are dance tableaux, including a Spanish flamenco flavoured dance number (<em>The Fabulous Samia Gamal<\/em>, 2003, sec. 25:50) and a sequence including Egyptian folkloric, can-can\/vaudeville, South American dances and ballroom dance (<em>The Fabulous Samia Gamal<\/em>, 2003, sec. 37:23).<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Samia-Gamal.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Samia-Gamal.jpg 546w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Samia-Gamal-300x232.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Samia-Gamal-516x400.jpg 516w\" decoding=\"async\" width=\"546\" height=\"423\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Samia Gamal\" class=\"wp-image-2148 lazyload\"  sizes=\"(max-width: 546px) 100vw, 546px\" \/><noscript><img decoding=\"async\" width=\"546\" height=\"423\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Samia-Gamal.jpg\" alt=\"Samia Gamal\" class=\"wp-image-2148\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Samia-Gamal.jpg 546w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Samia-Gamal-300x232.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Samia-Gamal-516x400.jpg 516w\" sizes=\"(max-width: 546px) 100vw, 546px\"><\/noscript><figcaption class=\"wp-element-caption\"><strong>Figure 15<\/strong> \u2013 Samia Gamal in the 1952 movie <em>Ma-Takloushi la Hada<\/em> (Don\u2019t Tell Anyone). Image from video still (TheCaroVan 2014c)<\/figcaption><\/figure>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">Unlike <a href=\"https:\/\/worlddanceheritage.org\/tahia-carioca\/\">Tahia Carioca, who was bint al-balad<\/a>, Samia Gamal represents a modern woman, with short hair, who wears flowing chiffon skirts and dances in upper-class nightclubs or theatres and very rarely in popular settings.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Samia Gamal danced and starred in many movies from the 1940s until the early 1960s, such as:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Ma Takulshi la Hada (Don\u2019t tell anyone) from 1952<\/li>\n\n\n\n<li>Segara wa Kas (A glass and a cigarette) from 1955<\/li>\n\n\n\n<li>Tarik al Shaytan (The Devil&#8217;s Road) from 1963<\/li>\n\n\n\n<li>and many more.<\/li>\n<\/ul>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Memories_of_Samia_Gamal\"><\/span>Memories of Samia Gamal<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Dina Talaat (Talaat and Guibal, 2011, p. 55), referring to Samia as one of her favorite dancers, calls her \u2018El farasha . . . the butterfly . . . ready to fly to the rhythm of music\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Randa Kamel said about her \u2018I love Samia Gamal. I love her face, I love her arms\u2019 (OrientExpressTV, 2010, sec. 05:54).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Samia Gamal was famous and loved not only for her graceful dancing style but also for her smile and sweet personality.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For example, Sloane Hirt (2012, para. 14) remembers that, when Samia went to teach a workshop in the USA, \u2018her exuberant laughter, friendliness, wit, and cheerful playfulness provided ample reasons for her legendary notoriety as an artistic ambassador of the Egyptian people\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bellydance practitioner Emma (no date, para. 10) writes about Samia in her blog, \u2018there is such joy in every movement she makes. . . . There is a sweet softness to her movements\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Similarly, one of my participants said, when I asked her what she liked in particular about Samia Gamal \u2018She\u2019s sweet and pretty [laughs]\u2019 (Ann). <\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Footnotes\"><\/span>Footnotes<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">1 &#8211; The focus is on women dancers because, in Egyptian movies, the only dancers shown were women. Considerations on male belly dancers will be made in 5.7.8.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">2 &#8211; Samia in Arabic means \u2018much praised\u2019 and Gamal means \u2018beauty\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">3 &#8211; The choice of Samia\u2019s stage name by Badia Masabni is an example of the Baladi\/<a href=\"https:\/\/worlddanceheritage.org\/arabic-terms-bellydance\/\">Afrangi dichotomy in the Raqs<\/a> sharqi world, in particular, reflected in Badia\u2019s comments regarding the name Zeinab. I will return to the Baladi\/Afrangi dichotomy and how Samia Gamal and Tahia Carioca reflect this, in the analysis section (5.3.5), at the end of this timeframe.<\/p>\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;\">On the next page <a href=\"https:\/\/worlddanceheritage.org\/naima-akef\/\">Naima Akef, a highly-polished dance<\/a><\/span>.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Samia Gamal Movement Vocabulary Samia Gamal (\u062c\u0645\u0627\u0644\u200e \u0633\u0627\u0645\u064a\u0629) is the most famous of the dancers of the Golden Age of Egyptian cinema. The basic movements she used were part of the same movement vocabulary used by the other dancers of her time. However, the feeling and attitude were very different. She is the most \u2018westernised\u2019 [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":2167,"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-2142","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>Samia Gamal belly dancer Laban movement and kinetography analysis<\/title>\n<meta name=\"description\" content=\"Samia Gamal Laban movement vocabulary and kinetography analysis. 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