{"id":2162,"date":"2019-05-08T15:42:38","date_gmt":"2019-05-08T14:42:38","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=2162"},"modified":"2023-08-21T14:48:52","modified_gmt":"2023-08-21T13:48:52","slug":"naima-akef","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/naima-akef\/","title":{"rendered":"Naima Akef \u2013 Laban Analysis &#038; Movements (5.3.3)"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter is-resized\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/naima-akef-belly-dancer.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/naima-akef-belly-dancer.jpg 604w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/naima-akef-belly-dancer-200x300.jpg 200w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/naima-akef-belly-dancer-535x800.jpg 535w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/naima-akef-belly-dancer-356x533.jpg 356w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/naima-akef-belly-dancer-267x400.jpg 267w\" decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Belly dance Naima Akef\" class=\"wp-image-2176 lazyload\" style=\"width:302px;height:452px\" width=\"302\" height=\"452\"  sizes=\"(max-width: 302px) 100vw, 302px\" \/><noscript><img decoding=\"async\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/naima-akef-belly-dancer.jpg\" alt=\"Belly dance Naima Akef\" class=\"wp-image-2176\" style=\"width:302px;height:452px\" width=\"302\" height=\"452\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/naima-akef-belly-dancer.jpg 604w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/naima-akef-belly-dancer-200x300.jpg 200w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/naima-akef-belly-dancer-535x800.jpg 535w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/naima-akef-belly-dancer-356x533.jpg 356w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/naima-akef-belly-dancer-267x400.jpg 267w\" sizes=\"(max-width: 302px) 100vw, 302px\"><\/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-6ab5bbe3029bf\" 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-6ab5bbe3029bf\" 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\/naima-akef\/#Introduction_to_Naima_Akef\" >Introduction to Naima Akef<\/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\/naima-akef\/#Laban_Analysis_Movements_of_Naima_Akef\" >Laban Analysis &amp; Movements of Naima Akef<\/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\/naima-akef\/#Background_and_Training\" >Background and Training<\/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\/naima-akef\/#Badia_Masabnis_Club\" >Badia Masabni\u2019s Club<\/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\/naima-akef\/#Footnotes\" >Footnotes<\/a><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Introduction_to_Naima_Akef\"><\/span>Introduction to Naima Akef<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Naima Akef (\u0646\u0639\u064a\u0645\u0629 \u0639\u0627\u0643\u0641) was also an innovator in the field of Raqs sharqi, because of her training and background and she was very influential for future generations of Raqs sharqi practitioners.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The famous Egyptian dancer Nagwa Fouad admired her very much, and she said in an interview \u2018I used to escape from school to go to the movies and watch Naima Akef dance in films\u2019 (Adum, 2010, para. 28).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Randa Kamel was also heavily influenced by Naima Akef as she once said:<\/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\">As I grew I started to appreciate Naima Akef another beautiful dancer . . . I watched so many times their performances [Samia\u2019s and Naima\u2019s] that I know exactly all the steps they are doing during the scene.<\/p>\n<cite>(Zahara and Shahin, 2012, para. 4)<\/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_Movements_of_Naima_Akef\"><\/span>Laban Analysis &amp; Movements of Naima Akef<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\/naima-akef.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/naima-akef.jpg 350w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/naima-akef-300x229.jpg 300w\" decoding=\"async\" width=\"350\" height=\"267\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Naima Akef the Egyptian belly dance\" class=\"wp-image-2171 lazyload\"  sizes=\"(max-width: 350px) 100vw, 350px\" \/><noscript><img decoding=\"async\" width=\"350\" height=\"267\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/naima-akef.jpg\" alt=\"Naima Akef the Egyptian belly dance\" class=\"wp-image-2171\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/naima-akef.jpg 350w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/naima-akef-300x229.jpg 300w\" sizes=\"(max-width: 350px) 100vw, 350px\"><\/noscript><figcaption class=\"wp-element-caption\"><strong>Figure 16<\/strong> \u2013 Naima Akef in the 1957 movie Tamra Henna (Tamarind). Image from video still (TheCaroVan 2014a) <\/figcaption><\/figure>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">Indeed, watching Naima Akef, I noticed some movements that seem familiar to other movements I saw Randa Kamel do, including some being taught by her in workshops I attended.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Other modern dancers seem to have been influenced by Naima Akef. For example, I have noticed a particular step performed by Naima, which Dina seemed to perform in a very similar way, although adapted to Dina\u2019s style.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The movement I noticed can be seen first in a Naima Akef solo in the 1958 movie <em>Ahabek Ya Hassan<\/em> (<em>I love you Hassan<\/em>) (INTELLECT FOCUS, 2013, sec. 03:13) and in the movie <em>Tamra Henna<\/em>, from 1957 (TheCaroVan, 2014j, sec. 00:42).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dina performs it, during her solo, in the last episode of <em>Al Rakesa<\/em> (Al Rakesa, 2014, sec. 00:00:19), a 2014 Egyptian TV show and belly dance competition.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The movement consists of stepping back with one foot behind the other, whilst swaying the hips side to side in a half horizontal figure of 8 layered on top of each step.<\/p>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">Perhaps Dina saw and studied Naima Akef\u2019s videos, but it is also possible that she learned these movements from Ibrahim Akef <a href=\"#one\">[1]<\/a>, Naima Akef\u2019s cousin, who was a famous choreographer from the 1950s, who started his career in Badia Masabni\u2019s club and who trained many raqs sharqi dancers (Egyptian and from all over the world) until his death in 2006 (Todaro, no date; Ziliotto Boudress, no date; duniaoriental, 2007; Chamas, 2009; Rodriguez, 2013).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Being contemporaries, related and having worked for a while in the same settings, it is very likely that Ibrahim and Naima influenced each other.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-analysis-naima-akef.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-analysis-naima-akef.jpg 672w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-analysis-naima-akef-300x208.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-analysis-naima-akef-577x400.jpg 577w\" decoding=\"async\" width=\"672\" height=\"466\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Laban movements anbalysis of Naima Akef dancing.\" class=\"wp-image-2184 lazyload\"  sizes=\"(max-width: 672px) 100vw, 672px\" \/><noscript><img decoding=\"async\" width=\"672\" height=\"466\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-analysis-naima-akef.jpg\" alt=\"Laban movements anbalysis of Naima Akef dancing.\" class=\"wp-image-2184\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-analysis-naima-akef.jpg 672w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-analysis-naima-akef-300x208.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-analysis-naima-akef-577x400.jpg 577w\" sizes=\"(max-width: 672px) 100vw, 672px\"><\/noscript><figcaption class=\"wp-element-caption\">Table 14 \u2013 Naima Akef\u2019s Movement assessed with Laban analysis by <a href=\"https:\/\/worlddanceheritage.org\/about-us\/\">Dr Valeria Lo Iacono (2019)<\/a><\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">I have summarised Naima Akef\u2019s style, gathered from analyzing her videos, in Table 14.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It was very refined and polished and, Ibrahim Akef told belly dancer Jalilah that \u2018it was his first cousin, the dancer, and actress Naima Akef, who was the first to completely choreograph her solo performances (Chamas, 2009, para. 12)\u2019.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Background_and_Training\"><\/span>Background and Training<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Naima Akef\u2019s desire to experiment and innovate could have been influenced by her background and training.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">According to some sources she was born in 1929 (Artemis, no date; Green, 2015) and in 1932 according to others (Ramzy, no date b).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">All sources though agree that she was born \u2018in Tanta on the Nile Delta to parents who were acrobats in the Akef Circus\u2019 (Green, 2015, para. 1), where she worked from a young age as an acrobat (Artemis, no date, para. 1).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In 5.3.5, I will analyze her stylistic choice using the theories from my conceptual framework and comparing Naima Akef with Tahia Carioca and Samia Gamal.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Badia_Masabnis_Club\"><\/span>Badia Masabni\u2019s Club <span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Naima Akef worked at Badia Masabni\u2019s club for a while and the first film in which she acted was in 1944, <em>Al-E\u00efch wal malh<\/em> (<em>Bread and salt<\/em>) (although, according to some other sources, the date of this film was 1949 (Fawzi, 1949)).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Naima joined the first Egyptian folkloric group <em>Leil Ya Ain<\/em> and in 1954 she was nominated the best dancer in a folkloric dance competition in the Youth Festival in Moscow Group (Artemis, no date).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">According to Green (2015, para. 8), \u2018Naima quit acting in 1964 to take care of her son and only child. Sadly, Naima succumbed to cancer and died just two years later at the young age of 36\u2019. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Naima\u2019s dance style was very eclectic and we can see her perform (in addition to Raqs sharqi) many dance tableaux and other dance genres such as rumba, tap, and acrobatic dances in her movies such as:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><em>Aziza<\/em> (Fawzi, 1955, sec. 00:52:19)<\/li>\n\n\n\n<li><em>Aish Wal Malh<\/em> (<em>Bread and salt<\/em>) (Fawzi, 1949, secs 00:45:33; 01:41:00)<\/li>\n\n\n\n<li><em>Ahebbek ya Hassan<\/em> (<em>I love you Hassan<\/em>) (Fawzi, 1958, sec. 01:03:27)<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">Indeed, according to Ramzy (no date b, para. 10):<\/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\">Naima rarely ever danced in nightclubs but more through her films and theatre dance tableaux&#8217;s [<em>sic<\/em>] which she regularly organised in Egypt as well as abroad. Those were not purely Egyptian dance performances, but more of a free expression and more of a music and dance extravaganza.<\/p>\n<cite>Ramzy (no date)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">All these various influences in her dance can explain why Naima Akef introduced so many new movements and combinations in her Raqs sharqi performances.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Naima Akef was and still is very influential in the field of Raqs sharqi. She is still very much loved today by practitioners such as Lidia Rosolia, who told me \u2018Naima Akef always was my favorite of the old dancers . . . maybe it\u2019s her smile, her energy\u2019.<\/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; <a href=\"https:\/\/worlddanceheritage.org\/reda-troupe\/\"><span style=\"text-decoration: underline;\">The Egyptian Folklore and the Reda Troupe are discussed<\/span><\/a><\/strong>.<\/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; Dina writes, in her autobiography, that she studied Raqs sharqi with Ibrahim Akef (Talaat and Guibal, 2011, pp. 57, 64)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Introduction to Naima Akef Naima Akef (\u0646\u0639\u064a\u0645\u0629 \u0639\u0627\u0643\u0641) was also an innovator in the field of Raqs sharqi, because of her training and background and she was very influential for future generations of Raqs sharqi practitioners. The famous Egyptian dancer Nagwa Fouad admired her very much, and she said in an interview \u2018I used to [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":2178,"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-2162","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>Naima Akef \u2013 Laban Analysis &amp; Movements (5.3.3)<\/title>\n<meta name=\"description\" content=\"Naima Akef laban dance movements analysis and her background, training, and Masabni\u2019s Club. 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