{"id":2235,"date":"2019-05-08T17:44:34","date_gmt":"2019-05-08T16:44:34","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=2235"},"modified":"2023-08-04T12:49:28","modified_gmt":"2023-08-04T11:49:28","slug":"movements-analysis","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/movements-analysis\/","title":{"rendered":"Movements Analysis of Dancers of the 1930s to 1950s in Egypt (5.3.5)"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter size-full is-resized is-style-rounded\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/1930s-1950s-egypt-dance.jpg\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/1930s-1950s-egypt-dance.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/1930s-1950s-egypt-dance.jpg 608w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/1930s-1950s-egypt-dance-480x267.jpg 480w\" decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Belly dancers of the 1930s and 1950s in Egypt.\" class=\"wp-image-15337 lazyload\" width=\"608\" height=\"338\"  sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) 608px, 100vw\" \/><noscript><img decoding=\"async\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/1930s-1950s-egypt-dance.jpg\" alt=\"Belly dancers of the 1930s and 1950s in Egypt.\" class=\"wp-image-15337\" width=\"608\" height=\"338\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/1930s-1950s-egypt-dance.jpg 608w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/1930s-1950s-egypt-dance-480x267.jpg 480w\" sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) 608px, 100vw\"><\/noscript><\/a><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Table 15 includes a comparison of <span style=\"text-decoration: underline;\"><strong><a href=\"https:\/\/worlddanceheritage.org\/glossary-raqs-sharqi-movements\/\" target=\"_blank\" rel=\"noreferrer noopener\">the movements<\/a><\/strong><\/span> used by the three most famous dancers of the golden age.<\/p>\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-6ab5bbee022d7\" 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-6ab5bbee022d7\" 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\/movements-analysis\/#Kinemes\" >Kinemes<\/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\/movements-analysis\/#Allokines\" >Allokines<\/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\/movements-analysis\/#Motifs\" >Motifs<\/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\/movements-analysis\/#Movement_Analysis_Tables\" >Movement Analysis Tables<\/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\/movements-analysis\/#Identifying_Traditions_and_Innovations_Between_Dancers\" >Identifying Traditions and Innovations Between Dancers<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/worlddanceheritage.org\/movements-analysis\/#Tahia_Carioca_vs_Samia_Gamal_vs_Naima_Akef\" >Tahia Carioca vs Samia Gamal vs Naima Akef<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/worlddanceheritage.org\/movements-analysis\/#Embodiment_of_Raqs_Sharqi\" >Embodiment of Raqs Sharqi<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-8\" href=\"https:\/\/worlddanceheritage.org\/movements-analysis\/#Mahmoud_Reda_Movement_Interpretations\" >Mahmoud Reda Movement Interpretations<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-9\" href=\"https:\/\/worlddanceheritage.org\/movements-analysis\/#Codification_and_Mahmoud_Reda\" >Codification and Mahmoud Reda<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-10\" href=\"https:\/\/worlddanceheritage.org\/movements-analysis\/#Impact_of_Settings_and_Locations\" >Impact of Settings and Locations<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-11\" href=\"https:\/\/worlddanceheritage.org\/movements-analysis\/#Impact_of_Artifacts_on_the_Dance_Traditions\" >Impact of Artifacts on the Dance Traditions<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-12\" href=\"https:\/\/worlddanceheritage.org\/movements-analysis\/#Raqs_Sharqi_Cinema_and_1950s_Egypt\" >Raqs Sharqi, Cinema and 1950s Egypt<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-13\" href=\"https:\/\/worlddanceheritage.org\/movements-analysis\/#Results_Innovation_Differences_Between_the_3_Raqs_Sharqi_Dancers\" >Results: Innovation Differences Between the 3 Raqs Sharqi Dancers<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-14\" href=\"https:\/\/worlddanceheritage.org\/movements-analysis\/#1st_Level_%E2%80%93_The_Phenomenological\" >1st Level &#8211; The Phenomenological<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-15\" href=\"https:\/\/worlddanceheritage.org\/movements-analysis\/#2nd_Level_Dancers_Habitus_and_Dispositions\" >2nd Level: Dancers\u2019 Habitus and Dispositions<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-16\" href=\"https:\/\/worlddanceheritage.org\/movements-analysis\/#3rd_Level_The_AgencyStructure_Dialectic_of_the_Dancer\" >3rd Level: The Agency\/Structure Dialectic of the Dancer<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-17\" href=\"https:\/\/worlddanceheritage.org\/movements-analysis\/#Footnotes\" >Footnotes<\/a><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Kinemes\"><\/span>Kinemes<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">All three use isolations of the hips, torso and shoulders, and a clear movement vocabulary of Raqs sharqi is already established at this stage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Following Kaeppler (2001), these isolations constitute Raqs sharqi kinemes, which are the \u2018minimal units of movement recognized as contrastive\u2019 (ibid, p. 51) by Raqs sharqi practitioners.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Each kineme, for example, a hip drop, can be performed in various ways, giving rise to many allokines, another concept borrowed from Kaeppler\u2019s (2001) dance analysis (4.6.1).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For example, a hip drop can be done standing straight or leaning back, as Tahia Carioca sometimes does.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Allokines\"><\/span>Allokines<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The use of allokines is very widespread in a dance genre such as Raqs sharqi, in which the individual interpretation of the dancer is important and, already from this early stage, it is clear how every dancer has a clearly distinct style.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Motifs\"><\/span>Motifs<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Motifs are also created, which are \u2018sequences of movement made up of kinemes and morphokines that produce short entities in themselves\u2019 (Kaeppler, 2001, p. 51).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For example, the traveling steps and combinations created by Naima Akef, which were copied by successive generations of dancers, can be considered motifs (even though these motifs are then changed based on every dancer\u2019s style rather than copied exactly as they were performed by Naima Akef).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the analysis of the timeframes that follow, we will see how these kinemes, allokines, and motifs develop and if new ones are created or if some go out of fashion over time.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Tables 12a and 12b summarise the main themes that have emerged from this timeframe.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There were many Raqs sharqi dancers in the so-called golden age of Egyptian cinema, as well as choreographers and other people involved in the production and appreciation of this dance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, I have identified a few figures who, through their agency, are very influential in the development and transmission of this dance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">They are the dancers Samia Gamal, Tahia Carioca, and Naima Akef and the choreographers Ibrahim Akef and Mahmoud Reda.<br><\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Movement_Analysis_Tables\"><\/span>Movement Analysis Tables<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\"> &gt;&gt; <strong><a aria-label=\"CLICK IMAGE BELOW TO SEE FULL SIZE VERSION (opens in a new tab)\" rel=\"noreferrer noopener\" href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-raqs-sharqi-analysis.jpg\" target=\"_blank\"><span style=\"text-decoration: underline;\">CLICK IMAGE BELOW TO SEE FULL-SIZE VERSION<\/span><\/a><\/strong> &lt;&lt; <\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-raqs-sharqi-analysis.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-raqs-sharqi-analysis.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-raqs-sharqi-analysis.jpg 586w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-raqs-sharqi-analysis-196x300.jpg 196w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-raqs-sharqi-analysis-522x800.jpg 522w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-raqs-sharqi-analysis-348x533.jpg 348w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-raqs-sharqi-analysis-261x400.jpg 261w\" decoding=\"async\" width=\"586\" height=\"898\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Laban raqs sharqi movements analysis\" class=\"wp-image-2243 lazyload\"  sizes=\"(max-width: 586px) 100vw, 586px\" \/><noscript><img decoding=\"async\" width=\"586\" height=\"898\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-raqs-sharqi-analysis.jpg\" alt=\"Laban raqs sharqi movements analysis\" class=\"wp-image-2243\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-raqs-sharqi-analysis.jpg 586w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-raqs-sharqi-analysis-196x300.jpg 196w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-raqs-sharqi-analysis-522x800.jpg 522w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-raqs-sharqi-analysis-348x533.jpg 348w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-raqs-sharqi-analysis-261x400.jpg 261w\" sizes=\"(max-width: 586px) 100vw, 586px\"><\/noscript><\/a><figcaption class=\"wp-element-caption\"><strong>Table 15<\/strong> &#8211; Movements analysis of 3 of the most famous Golden Age Dancers.<\/figcaption><\/figure>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\">&gt;&gt; <span style=\"text-decoration: underline;\"><strong><a aria-label=\"CLICK IMAGE BELOW TO SEE FULL SIZE VERSION (opens in a new tab)\" rel=\"noreferrer noopener\" href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/intanigle-authenticity-dance.jpg\" target=\"_blank\">CLICK IMAGE BELOW TO SEE FULL-SIZE VERSION<\/a><\/strong><\/span> &lt;&lt;<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/intanigle-authenticity-dance.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/intanigle-authenticity-dance.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/intanigle-authenticity-dance.jpg 891w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/intanigle-authenticity-dance-300x146.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/intanigle-authenticity-dance-768x373.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/intanigle-authenticity-dance-800x389.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/intanigle-authenticity-dance-600x292.jpg 600w\" decoding=\"async\" width=\"891\" height=\"433\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Golden Era of Egyptian Cinema (1930s to 1950s) - Part 1 dance analysis\" class=\"wp-image-2245 lazyload\"  sizes=\"(max-width: 891px) 100vw, 891px\" \/><noscript><img decoding=\"async\" width=\"891\" height=\"433\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/intanigle-authenticity-dance.jpg\" alt=\"Golden Era of Egyptian Cinema (1930s to 1950s) - Part 1 dance analysis\" class=\"wp-image-2245\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/intanigle-authenticity-dance.jpg 891w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/intanigle-authenticity-dance-300x146.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/intanigle-authenticity-dance-768x373.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/intanigle-authenticity-dance-800x389.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/intanigle-authenticity-dance-600x292.jpg 600w\" sizes=\"(max-width: 891px) 100vw, 891px\"><\/noscript><\/a><figcaption class=\"wp-element-caption\"> <strong>Table 16<\/strong> &#8211; The Golden Era of Egyptian Cinema (the 1930s to 1950s) &#8211; Part 1 <\/figcaption><\/figure>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\">&gt;&gt; <strong><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/influences-heritage.jpg\"><span style=\"text-decoration: underline;\">CLICK IMAGE BELOW TO SEE FULL-SIZE VERSION<\/span><\/a><\/strong> &lt;&lt;<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/influences-heritage.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/influences-heritage.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/influences-heritage.jpg 990w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/influences-heritage-300x146.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/influences-heritage-768x373.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/influences-heritage-800x389.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/influences-heritage-600x292.jpg 600w\" decoding=\"async\" width=\"990\" height=\"481\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Influences of heritage and dance\" class=\"wp-image-2256 lazyload\"  sizes=\"(max-width: 990px) 100vw, 990px\" \/><noscript><img decoding=\"async\" width=\"990\" height=\"481\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/influences-heritage.jpg\" alt=\"Influences of heritage and dance\" class=\"wp-image-2256\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/influences-heritage.jpg 990w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/influences-heritage-300x146.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/influences-heritage-768x373.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/influences-heritage-800x389.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/influences-heritage-600x292.jpg 600w\" sizes=\"(max-width: 990px) 100vw, 990px\"><\/noscript><\/a><figcaption class=\"wp-element-caption\"><strong>Table 17<\/strong> &#8211; The Golden Era of Egyptian Cinema (1930s to 1950s) &#8211; Part 2<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Identifying_Traditions_and_Innovations_Between_Dancers\"><\/span>Identifying Traditions and Innovations Between Dancers<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">Already it is possible to identify a tension between traditions and innovations, with some dancers, particularly Tahia Carioca, being more connected to traditions in the way they move and others (Samia Gamal and Naima Akef) more modern and open to innovations.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Tahia_Carioca_vs_Samia_Gamal_vs_Naima_Akef\"><\/span>Tahia Carioca vs Samia Gamal vs Naima Akef<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Tahia Carioca and Samia Gamal also embody the Baladi\/Afrangi dichotomy. Tahia is seen as the \u2018bint al balad\u2019 the working class, authentic and traditional Baladi figure (although her stage name, Carioca, also reflects a transcultural dimension).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Samia represents the Afrangi values, by embracing an international culture in the way she moves and presents herself.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Naima Akef is an innovator but also distinct from the other two, in that she is the one who experimented the most with a variety of new steps and combinations, which have been replicated by many dancers after her.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">She choreographed her solo dances and sought to achieve very polished performances. In spite of the differences between these dancers, one common element is the softness and relaxed feeling of Raqs sharqi.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Embodiment_of_Raqs_Sharqi\"><\/span>Embodiment of Raqs Sharqi<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">These three dancers, in particular, are the first embodiments of the Raqs sharqi heritage, as their performances were immortalized in several movies.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">They embody heritage through the human\u2019s body ability to be what Burkitt (1999, pp. 2, 3) describes as \u2018productive bodies capable of activities that change the nature of their lives\u2019 by being \u2018communicative bodies . . . powerful bodies . . .. thinking bodies\u2019, by virtue of their dance, which is embedded in traditions.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It seems, moreover, that dancers act as social agents in the field of cultural production (Bourdieu and Johnson, 1993) of raqs sharqi, by creating niches for themselves and building their capital.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As Bourdieu (1992, p. 99) stated, the agents can \u2018increase or . . . conserve their capital . . . in conformity with the tacit rules of the game . . . but they can also . . . transform, partially or completely, the immanent rules of the game\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It seems that innovators play the game by seeking to change the rules, while the traditionalists prefer to keep the rules as they are and use them to their own advantage.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Mahmoud_Reda_Movement_Interpretations\"><\/span>Mahmoud Reda Movement Interpretations<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Mahmoud Reda connected local traditions with innovation, as he observed and studied local folkloric dances and the embodied habitus of Egyptians (their dispositions, or way of moving in everyday life) and represented his own version on stage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Mahmoud Reda\u2019s folklore represents Egyptian heritage but also his own interpretation, which was influenced by his middle-class background, and by having traveled and appreciated Western dance in American movies.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In this respect, Reda owned what Urry (2007, p. 197) refers to as \u2018network capital\u2019, which allowed him to travel and provided him with &#8216;means of networking&#8217;.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The way in which he tried to tone down sexually charged movements in dance, particularly in his version of Raqs sharqi, reflects the taste and morals of a particular class at a specific moment in time.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The ruling class was trying to portray folkloric dances as part of Egyptian cultural heritage abroad, and, as Reed argues (1998, p. 512) \u2018regulating purity and authenticity in folkloric dance in a patriarchal and protective mode is a common feature of state and elite interventions\u2019.<\/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<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Codification_and_Mahmoud_Reda\"><\/span>Codification and Mahmoud Reda<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">Mahmoud Reda started a process of codification and refinement of Raqs sharqi, which has heavily influenced its development, especially considering the fact that Mahmoud Reda went on to teach all his life to dancers from different cultures, nations, and backgrounds.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Already at this stage, Raqs sharqi takes shape as an \u2018invented tradition\u2019, which has its roots in local dances but is distinct from Baladi social dance and from folkloric dances.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Raqs sharqi is transmitted, at this stage, by imitation and mimesis body to body.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, this imitation happens not only in person (as it used to be the case traditionally), but also indirectly <a href=\"https:\/\/worlddanceheritage.org\/belly-dance-cinema\/\">through the medium of cinema<\/a>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The movies that people could see in the 50s are the same that we can see today, so the invention of cinema (and later other technologies for recording dance) has deterritorialized and detemporalised heritage, since dancers no longer have to be in the presence of a teacher to learn.<\/p>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">This contradicts UNESCO\u2019s (2003, p. 2) statement that intangible heritage is \u2018transmitted generation to generation\u2019 as indeed transmission can skip generations, through the use of technology.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Moreover, these old movies have become a tangible expression of Raqs sharqi as \u2018the audiovisual material that captures its sound or image\u2019 (Skounti, 2008, p. 77), and they have also become heritage in their own rights as they are artifacts with their own artistic value.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Impact_of_Settings_and_Locations\"><\/span>Impact of Settings and Locations<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">In terms of locations and social occasions in which Raqs sharqi takes place, in the movies, we can see a variety of settings: from nightclubs and theatres to weddings and traditional celebrations.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Also, the most famous dancers, such as Tahia Carioca, dance for Egyptian royalty <a href=\"#one\">[1]<\/a> and heads of state, and they are seen as representing a part of Egyptian culture on the world stage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As Zaki Osman (2011, para. 6) remarks, \u2018Gamal . . . Tahiya Karioka and Naima Akef, had contributed to turning belly dancing into a cultural phenomenon\u2019.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Impact_of_Artifacts_on_the_Dance_Traditions\"><\/span>Impact of Artifacts on the Dance Traditions<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">Finally, artifacts also reflect the tension between tradition and innovation because, alongside the most traditional <a rel=\"noreferrer noopener\" aria-label=\"props such as finger cymbals (opens in a new tab)\" href=\"https:\/\/www.worldbellydance.com\/learning-to-play-finger-cymbals\/\" target=\"_blank\">props such as finger cymbals<\/a> and assaya, the veil appears as a prop used for the entrance on stage, and the most modern costumes of the time, in particular, those worn by Samia Gamal, are made with gracefully flowing chiffon.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As Samia Gamal once stated (Cifuentes, 1994, para. 7), \u2018I loved to work with soft fabric, which gave an ethereal illusion\u2019. In this respect, the veil is an instrument for the dancer to dilate \u2018her being-in-the-world . . . by appropriating fresh instruments\u2019 (Merleau-Ponty [1945] 1992, p. 166). Most dancers wore the bedlah, except for those dancing in Mahmoud Reda\u2019s representations of Raqs sharqi (see Figure 17) for which, Farida Fahmy (1987, p. 68) 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\">Costumes . . . were designed to emphasize the shapeliness of the women\u2019s figures . . . Bodices were usually long-waisted and close-fitting. . . . While the neck and arms remained bare, the midriff was always covered.<\/p>\n<cite>Farida Fahmy (1987)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Props such as the assaya represent a connection between ancient traditions and the developments of what, at the time, was a new, invented tradition (i.e. Raqs sharqi).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The assaya, as we have seen in <a href=\"https:\/\/worlddanceheritage.org\/birth-raqs-sharqi\/\">5.2.2 (the birth of modern Raqs sharqi)<\/a>, was used by the Ghawazee dancers.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It was inspired by the stick used in a combat activity called <em>tahtib<\/em> from Upper Egypt. Mahmoud Reda created a dance for male dancers, influenced by tahtib which, as Fahmy (1987, p. 48) states, was \u2018an individual, stylized, improvisational dance, that retains much of the defence and attack quality of movements found in tahtib\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The way in which Raqs sharqi dancers used the assaya was in a playful and flirty way, as it can be seen in a scene from the 1955 film Aziza, with Naima Akef (TheCaroVan, 2014i).<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Raqs_Sharqi_Cinema_and_1950s_Egypt\"><\/span>Raqs Sharqi, Cinema and 1950s Egypt<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Overall, cinema and the political environment (promoting Egyptian culture after the 1952 revolution), seem to have been positive for the continuation of dance as a form of heritage between the 1930s and 50s in Egypt.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, the adaptation of dance for the stage led to changes and the creation of a new invented tradition.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Also, the morals of the time seemed to stigmatize dance to a certain extent, as Mahmoud Reda felt the need to tone down the most sensual elements of dance for its representation on stage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">So, this meant that folkloric dances (or at least the staged representations of them) started to be seen as respectable, as opposed to Raqs sharqi, towards which an ambivalent attitude developed.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This attitude can be explained by the fact that, while folkloric dance was tamed for the stage, that did not happen with Raqs sharqi, because its playful and sensual nature resisted being inscribed in nationalistic discourses.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As Reed states (1998, p. 511) \u2018the very aspects that make dances appealing and colorful. . . may be precisely the things that do not easily fit into the self-representation of the nation\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This applies to Raqs sharqi and may be the reason for the ambivalent attitude of Egyptians towards it, which persists to the present time.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The <a href=\"https:\/\/worlddanceheritage.org\/living-cultural-heritage\/\">tangible and intangible living heritage<\/a> (3.7) elements that can be identified for this time frame include the:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>feeling of relaxation (at the level of perceptual mind-body unity) of Egyptian raqs sharqi as seen in the videos and identified in the discourse.<\/li>\n\n\n\n<li>movement vocabulary being identified, which provides rules and resources for the practitioners.<\/li>\n\n\n\n<li>agency of dancers and choreographers who use the allocative resources at their disposal (movements and artifacts such as props. and also movies) to continue the tradition and possibly innovate on it.<\/li>\n\n\n\n<li>new props being appropriated as fresh instruments by dancers; the social background of practitioners that influences the dance\/heritage.<\/li>\n\n\n\n<li>field of cultural production of Egyptian raqs sharqi, influenced by the taste of social agents and in which practitioners have a capital at stake that they try to defend or increase. In addition to these elements, the continuous tension between traditions and innovation brings to the fore the relevance of the idea of fluid authenticity, whereby art continuously changes and adapts to new environments.<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">In this timeframe, some contrasts emerge from the results.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Results_Innovation_Differences_Between_the_3_Raqs_Sharqi_Dancers\"><\/span>Results: Innovation Differences Between the 3 Raqs Sharqi Dancers<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">In particular, the different ways in which the three most famous dancers deal with the balance between innovation and tradition and their different dance styles.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There is no definite answer as to why this is the case, but this difference can be partially explained through three different and overlapping levels of analysis.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"1st_Level_%E2%80%93_The_Phenomenological\"><\/span>1st Level &#8211; The Phenomenological<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">The first level is phenomenological, connected with their personalities and their lived experiences.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For instance, <a href=\"https:\/\/worlddanceheritage.org\/tahia-carioca\/\">Tahia Carioca<\/a> comes across as down-to-earth and passionate, while Samia Gamal comes across as more affable and this can reflect in the qualities (in the Laban analysis sense) of their dance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Of course, the discourse that was built later around these two women might have magnified certain aspects of their personalities, but this discourse must have been influenced by how Tahia and Samia came across in actual life. <\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"2nd_Level_Dancers_Habitus_and_Dispositions\"><\/span>2nd Level: Dancers\u2019 Habitus and Dispositions<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">The second level is connected to the dancers\u2019 habitus and dispositions, generated by their socio-cultural background.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Tahia was of Baladi background, raised with the idea that in life it is important to be strong and so she adopted the persona of the bint el balad in performance.<\/p>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\"><a href=\"https:\/\/worlddanceheritage.org\/samia-gamal\/\">Samia<\/a> was also of modest background, so this socio-cultural level is difficult to assess in terms of how it shaped her attitude to dance; we should know more about their biography in order to attempt an analysis.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Naima Akef was brought up in a circus and she started as an acrobat, so this may have made her more prone to adopt a stricter approach to choreography and incorporate more athletic movements and experiment more.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"3rd_Level_The_AgencyStructure_Dialectic_of_the_Dancer\"><\/span>3rd Level: The Agency\/Structure Dialectic of the Dancer<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">The third level is about the agency\/structure dialectic.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The performers, even if influenced by the rules and structures of society, the cinema industry, and their art, still had agency to make choices and use resources.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">So, they probably, to a certain extent, danced in a certain way because they liked it and made conscious choices as to what extent they wanted to innovate.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Moreover, based on Giddens\u2019 (1991) idea of reflexive self-identity, their free choice to present their identity in a certain way was also linked to the structural expectations of society.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Since these dancers acted in movies, it is possible they were typecast throughout their careers to fit a specific character or personality as performers, so the audience could create a narrative around them and identify them.<\/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;\"><a href=\"https:\/\/worlddanceheritage.org\/egypt-raqs-sharqi-1960s\/\">The Internationalisation of Raqs Sharqi (1960s and Early 1970s<\/a><\/span><\/strong><a><span style=\"text-decoration: underline;\"><strong>)<\/strong><\/span><\/a><strong><span style=\"text-decoration: underline;\">.<\/span><\/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; This happened in the 1940s, when Egypt was still a monarchy, before the 1953 coup in which Egypt became a republic (<em>BBC News<\/em>, 2017).<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Table 15 includes a comparison of the movements used by the three most famous dancers of the golden age. Kinemes All three use isolations of the hips, torso and shoulders, and a clear movement vocabulary of Raqs sharqi is already established at this stage. Following Kaeppler (2001), these isolations constitute Raqs sharqi kinemes, which are [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":15337,"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-2235","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>Belly Dancers movements analysis 1930s to 1950s. 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