{"id":2572,"date":"2019-05-10T18:52:17","date_gmt":"2019-05-10T17:52:17","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=2572"},"modified":"2023-08-17T18:41:03","modified_gmt":"2023-08-17T17:41:03","slug":"mona-al-said","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/mona-al-said\/","title":{"rendered":"Laban Dance Style Analysis of Belly Dancer Mona al Said (5.6.3)"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter is-resized\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Mona-al-Said-performer.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Mona-al-Said-performer.jpg 600w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Mona-al-Said-performer-200x300.jpg 200w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Mona-al-Said-performer-533x800.jpg 533w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Mona-al-Said-performer-355x533.jpg 355w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Mona-al-Said-performer-267x400.jpg 267w\" decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Dance movements and laban of Mona al Said the dance performer.\" class=\"wp-image-2700 lazyload\" style=\"width:300px;height:450px\" width=\"300\" height=\"450\"  sizes=\"(max-width: 300px) 100vw, 300px\" \/><noscript><img decoding=\"async\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Mona-al-Said-performer.jpg\" alt=\"Dance movements and laban of Mona al Said the dance performer.\" class=\"wp-image-2700\" style=\"width:300px;height:450px\" width=\"300\" height=\"450\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Mona-al-Said-performer.jpg 600w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Mona-al-Said-performer-200x300.jpg 200w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Mona-al-Said-performer-533x800.jpg 533w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Mona-al-Said-performer-355x533.jpg 355w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Mona-al-Said-performer-267x400.jpg 267w\" sizes=\"(max-width: 300px) 100vw, 300px\"><\/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-6ab5bc2f679fd\" 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-6ab5bc2f679fd\" 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\/mona-al-said\/#About_Mona_al_Said\" >About Mona al Said<\/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\/mona-al-said\/#Her_Career\" >Her 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\/mona-al-said\/#Her_Influence_Internationally_Outside_of_Egypt\" >Her Influence Internationally, Outside of Egypt<\/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\/mona-al-said\/#Dance_Style_Analysis_for_Mona_al_Said\" >Dance Style Analysis for Mona al Said<\/a><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"About_Mona_al_Said\"><\/span>About Mona al Said<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Biographical information about Mona al Said (\u0645\u0646\u0649 \u0627\u0644\u0633\u0639\u064a\u062f ) is available from an article written by El Safy (1996) and from Mona\u2019s own website (El Said, no date).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">She was born in Suez Canal and loved dancing folkloric dances at school. It was not until she moved to Cairo, having had to leave Suez Canal because of the Egypt\/Israel war in 1967, that her professional dance career started when she was only 13.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, she had to leave Egypt soon (only two months after she had started dancing professionally) because her father did not approve of her dancing. Mona 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 was very young and my father didn\u2019t like me to dance. . . . He wanted to kill me because he\u2019s Bedouin and doesn\u2019t like this \u2014 very shame(ful) for the family . . . my father was in Suez Canal. He came after me to Cairo . . . I went to Lebanon.<\/p>\n<cite>(El Safy, 1996, para. 25)<\/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=\"Her_Career\"><\/span>Her Career<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">During her career, from 1970 until the mid-1990s, Mona moved a few times between Lebanon, Cairo and London.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As pointed out for Badia Masabni and Nadia Gamal, a dancer\u2019s ability to have international connections can provide her\/him with transcultural resources to draw from for artistic innovation.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In London, she worked at (and later bought) the Omar Khayyam\u2019s, which was a club for very wealthy Arabs.<\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe class=\"lazyload\" data-src=\"https:\/\/www.youtube.com\/embed\/SeI2sbVRfrE?feature=oembed\" title=\"Mona al Said  **Zara&#039;s Favourite! 3 Drum dance\" width=\"1080\" height=\"810\"   allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\">Mona al Said dancing to a drum solo.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">El Safy (1996, para. 38) remembers that \u2018this was during the peak glut of Gulf oil money, when . . . London\u2019s economy revolved around the consumer trends of wealthy Arab potentates\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Up until the early 1990s, Mona kept performing in Cairo, but she slowed down in the mid-90s.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">That was also the time when many nightclubs started closing down and El Safy wondered if it was because of the growing political conservativism, which was a threat to dancers.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">According to Mona though, that was not the case, but it was more a case of people having to work harder than before and their tastes changing (I will further analyze the importance of taste in 5.6.4):<\/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\">\u201cI don\u2019t think they want Oriental dance to stop. But the people change. The class of people change.\u201d \u201cWhat happened to the elite and refined patrons?,\u201d I asked. \u201cI don\u2019t see them in the nightclubs anymore.\u201d . . . \u201cBecause they like to go now and have a good dinner, quiet life, go back home, sleep . . . people now like to work to make money; not like before (when) they already had money, rich . . .. people like to work and like to sleep early. Nightclubs now close at four, five, six o\u2019clock (am).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This is <em>harram<\/em>. This is shame(ful). For me, if I am coming to my health club at eleven, I can\u2019t be (going to) sleep at six in the morning. . . . Now (there are) a lot of restaurants that are not as expensive as nightclubs. They have nice music, delicious food, lovely service, with very chic people sitting around you.\u201d<\/p>\n<cite>(El Safy, 1996, paras 59, 61)<\/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=\"Her_Influence_Internationally_Outside_of_Egypt\"><\/span>Her Influence Internationally, Outside of Egypt<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Mona al Said has been very influential in the development of Raqs sharqi outside of Egypt, because her performances were, as El Safy states (1996, para. 3), \u2018one of the first Egyptian performances available on video in the early 1980s\u2019.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/mona-al-said.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/mona-al-said.jpg 333w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/mona-al-said-218x300.jpg 218w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/mona-al-said-290x400.jpg 290w\" decoding=\"async\" width=\"333\" height=\"459\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Mona al Said the belly dancer\" class=\"wp-image-2580 lazyload\"  sizes=\"(max-width: 333px) 100vw, 333px\" \/><noscript><img decoding=\"async\" width=\"333\" height=\"459\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/mona-al-said.jpg\" alt=\"Mona al Said the belly dancer\" class=\"wp-image-2580\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/mona-al-said.jpg 333w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/mona-al-said-218x300.jpg 218w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/mona-al-said-290x400.jpg 290w\" sizes=\"(max-width: 333px) 100vw, 333px\"><\/noscript><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">This meant that people outside of Egypt could own those videos and learn from them. Indeed, two comments from one of the videos of Mona posted on YouTube (baadrobot, 2008a) state:<\/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 started to study Raqs Sharqi and Egyptian folklore with these videos. . . . Thank you. These videos are so precious for me. I cry. (Out of Babylon)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This dance was on the first video cassette that I owned in the early 80s . . . Mona was such an inspiration to a generation of dancers! (amoura latif)<\/p>\n<cite>Baadrobot (2008) <\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Moreover, since\nshe stopped performing in nightclubs, Mona has been teaching workshops in Egypt\nand abroad. In her interview, talking about her experience attending an\nintensive course with Mona in Egypt, Francesca 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\">She has an amazing technique . . . she is I think around 60 and you see her teaching and dancing and you are like: I want to be like that! [laughs] When I grow older! [laughs] because . . . she has incredible energy but I really loved the way she can be female but also strong but not rigid . . . and she\u2019s also very sincere . . . when she dances, you can really see herself.<\/p>\n<cite>Research volunteer for the PhD of Dr Valeria Lo Iacono (2019)<\/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=\"Dance_Style_Analysis_for_Mona_al_Said\"><\/span>Dance Style Analysis for Mona al Said<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\/mona-al-said-laban-analysis.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/mona-al-said-laban-analysis.jpg 529w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/mona-al-said-laban-analysis-300x271.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/mona-al-said-laban-analysis-444x400.jpg 444w\" decoding=\"async\" width=\"529\" height=\"477\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Laban dance analysis for the dancing of Mona al Said\" class=\"wp-image-2586 lazyload\"  sizes=\"(max-width: 529px) 100vw, 529px\" \/><noscript><img decoding=\"async\" width=\"529\" height=\"477\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/mona-al-said-laban-analysis.jpg\" alt=\"Laban dance analysis for the dancing of Mona al Said\" class=\"wp-image-2586\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/mona-al-said-laban-analysis.jpg 529w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/mona-al-said-laban-analysis-300x271.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/mona-al-said-laban-analysis-444x400.jpg 444w\" sizes=\"(max-width: 529px) 100vw, 529px\"><\/noscript><figcaption class=\"wp-element-caption\"><strong>Table 30<\/strong> &#8211; of Mona al Said&#8217;s dancing style.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Table 30 summarises Mona\u2019s style and reflects Francesca\u2019s statement as Mona\u2019s style, from the analysis, has emerged as being controlled (very technical), relaxed (not rigid), powerful (strong).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A good example of her style can be seen from a video where she is performing a drum solo with live music, possibly for the 1980s (baadrobot, 2008b).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In this video, it is possible to appreciate how precise and yet relaxed she is, even during a drum solo where sometimes she dances slowly even when the rhythm is fast. El Safy (1996, para. 45), who saw her perform live, comments that \u2018Mona\u2019s style was precise, passionate and packed a powerful punch\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The person who uploaded one of Mona\u2019s videos on Youtube (baadrobot, 2008a), in her comments to the video writes: \u2018In this video, Mona explains to us all how less is more.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The grace and simplicity of this piece is in its powerful yet minimalistic movements\u2019. Another video I have chosen as a sample is from the 1986 movie <em>Koum El Shoqafa<\/em> (<em>Hill of Shards<\/em>, the name of ancient catacombs near Alexandria) (TheCaroVan, 2015e).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In this scene, Mona plays the part of an audience member who is persuaded to get up and dance. The third video (Avihass, 2014) is from 2014 and was taken at the <em>Mediterranean Delight<\/em> Festival, in Greece.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It is a good example of how one of these retired great Egyptian dancers still continues to teach and perform for people from around the world, therefore embodying the heritage and spreading it across cultures.<\/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=\"wp-block-paragraph\"><\/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;<\/strong><a href=\"https:\/\/worlddanceheritage.org\/1980s-raqs-sharqi\/\"><strong><span style=\"text-decoration: underline;\"> <\/span><\/strong><span style=\"text-decoration: underline;\"><strong>Sociological Analysis of The Last Big Raqs Sharqi Stars<\/strong><\/span><\/a><strong><span style=\"text-decoration: underline;\"> in Egypt (1980s and 1990s).<\/span><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>About Mona al Said Biographical information about Mona al Said (\u0645\u0646\u0649 \u0627\u0644\u0633\u0639\u064a\u062f ) is available from an article written by El Safy (1996) and from Mona\u2019s own website (El Said, no date). She was born in Suez Canal and loved dancing folkloric dances at school. It was not until she moved to Cairo, having had [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":2699,"comment_status":"open","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-2572","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>Laban Dance Style Analysis of Belly Dancer Mona al Said (5.6.3)<\/title>\n<meta name=\"description\" content=\"Focus on Mona al Said, the famous Egyptian belly dancer. 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