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Types of Belly Dance of the and Eastern Music

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Music: drum, rhythms, instruments & translations
This page will direct you to how to play the dombec, Middle Eastern rhythms, instruments and translations of belly dance songs.

Middle Eastern Rhythms, Drum & Instruments
I have been dancing for a long time and really didn't get the feel of the music until I learned how to play the Middle Eastern rhythms on the dombec. Once I understood the various rhythms of the music I became a much better dancer. I learned how to phrase and understand the music that I was performing to. If you have a chance to learn to play the dombec, tambourine, def, etc. do it. This will help your dancing tremendously. Plus it is a lot of fun. By learning the rhythms of the music it will also improve your zill playing. Next time you see a workshop that offers drumming, go ahead sign up and start exploring the wonderful world of rhythm.


http://www-2.cs.cmu.edu/afs/cs.cmu.edu/user/mmbt/www/percussion/learn-med.html


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Accessories for Belly Dana

The importance of the accessories is on to the enrichment and embelezamento.
Pandeiro, Cane, Punhal, Sword.
Dance of the Candelabrum or Candlestick (Raks El Shemadan): Element Fire - Nut Goddess:
It is an Egyptian, common traditional dance in the marriages. The dancer leads cortejo of the fiancs with a lighted candelabrum balanced in the head to illuminate the way of the couple. The fire of the candles represents the life. Therefore, this dance frequently is carried through in anniversary parties. The candelabrum must be specific for the dance, thus having the support adjusted for the head of the dancer. The used rhythm must be slow. Its performance is delicate with delicate movements.
Dance of the Sword: Element Air - sis Goddess
Dance in homage to the Neit goddess, mother of R. For being a warlike goddess, it it symbolized the destruction of the enemies and the opening of the ways. The dance of the sword also could be made as homage the Maat, the goddess of justice.
Two legends for the origin of the dance of the sword exist. The first one, counts that, in the Seniority, the women stole the swords of the guardies of the king to dance, in intention to show that the sword was much more useful in the dance of that stopped in the waist of them or making died and wounded.
Second it says that, at the time, when a king found that he had many slaves, gave to each one a sword to balance in the head and to dance with it. Thus, it would have to prove that it had many abilities. Of the the opposite, the king would order to kill it.
The certainty is that, in this dance, the dancer must know to balance with favour the sword in the head, the chest and the waist. It is important also to choose the certain music, that must transmit a certain mystery. This instrument represents the courage and the force exteriorizadas by intelligence and astuteness. Since it is a dance is classic the ideal is to dance it with classic music. The sword always is used with corporal movements "prolongated" and much slightness. Break-even point of the sword: head, bust, womb, waist, knee, hands, arms.
Dance of the Pandeiro (Daff): Element Land - Persfone Goddess
She was always done with the party and joy, commemoration direction. Much used in Arab rhythms to greet the harvest in its festivals in the field. To dance with the pandeiro one uses rhythmic musics that propitiate the markings with the instrument in the body of the dancer. It is a dance cigana-Egyptian, it can be used alone with Percusso or Said, Laff or Fallahi.
Snuj
Some versions exist, go to write the most common and the one that more taste. They had arrived in the dance of the womb when the dance if popularized in the streets and fairs. Instruments percussion, used for the dancer or a musician. When they are touched by the dancer, they have a lesser size and when they are touched by men they are of
a well bigger model. When to touch? What to use? Which the rhythm? Snujs functions with all the rhythms. In my opinion, them they are a touch more in Arab music, being thus I think that they are not interesting alone. A specific suit does not exist to touch snujs. E as the streets and fairs were touched in, advises to choose it a well glad music.
SYMBOLOGY OF THE MOVEMENTS
The HEAD: it is dislocated as a serpent
The ARMS: wing of a bird flying, serpent if putting into motion
The HANDS: they represent the flowers, the fish, air, the water, the fire. It is where if express the graciosidade of the dancer
The BUST: it is where it is the sensuality, but also the maternal love
THE SHOULDERS: they give magical rhythm to the dance
The WOMB: it beats, it vibrates, it waves, showing the magic to generate a life
The SINUOSITY (hips and trunk): it awakes the unconscious one, it discloses restrained emotions and it liberates the vital energy of the woman
The FEET: the sacred symbols draw in the ground
THE EYES: they show the magnetic force of the conquest
CAMEL: to run of waters
SHIMIES: fire, the wakening of kundaline (our asleep fire serpent in the base of the column)
REDONDO OF HIP: force of the Mother Land
VEIL
The dance with veils was popularized in the United States, where they showed in Hollywood sensual women posando as harem dancers envoltas in transparent veils. It has a loss of the continuity in the history of the dance of the veils. It appears, disappears again and appears. One became absent in Egypt, but she can be found in Turkey. To have most interesting and elaborated uses of the veils, she needs yourself to study the dancers of U.S.A., England or Europe. The magic and the sensitivity of a beautiful dance using the veils can provide a wonderful experience for the expectadores. Currently, the veil is the main element in the entrance of the dancer. As a prolongation of the arms, engrandece its figure, calling the attention for its arrival. The veil is considered the second skin of the dancer.
The dance of the veils is carried through with an amount of veils that varies its objective in accordance with:
2 veils dance of the body and the soul
3 veils dance of the temple
4 veils dance of the palace
5 veils dance of the scorpion
6- it dances of the wind

DOUBLE VEIL
It is a very beautiful dance, however it is not of Arab origin,
nor we have registers in History. It is a source that possibly appeared in the Europe has little time. It does not demand a specific suit and music must be classic.

SEVEN VEILS
The dance of the seven veils is one of the most famous, beautiful e mysterious primitive rites. Although much people believe that she is about the oldest version of strip-tease, the dance did not have an exclusively ertico character. She was not practised in rites of fecundao, but for the priestesses inside of the temples of the Egyptian goddess sis.. The priestess offered the dance for the Isis goddess, that inside of it exists, and it of the beauty and force.
Carried through in homage to deceased for the priestesses, in its temples, that not only removed the veils, but all the adereos on its body, to symbolize its entrance to the world of deceased without attachment the corporeal property.
The dance of the seven veils can be carried through, also, in homage to the Babylonian goddess Ishtar, goddess of the life and the death, the love and the fertility. according to babilnios, Ishtar went down to the underground world passing seven times for seven vestibules, leaving in each one of them one of its seven attributes: beauty, love, health, fertility, power, magic and the domain on the stations of the year, represented for the veils. The veils in this dance mean decide it of the woman to its interior world. They are the seven mysteries of the sis goddess (the woman searchs the mysteries to espiritualizar itself). Through the dance of the womb the woman enters in contact with its Interior Goddess, located in the uterus. Unmasking of the veils, means the discovery of its chakras. Each color of veil corresponds to an one energy chakra. The seven veils represent the seven degrees of initiation, seven chakras corporal, the seven colors of the rainbow and the seven planets. The withdrawal and falling of the veils mean falling of venda, despertando the conscience. It is the evolution spiritual. Carried through in homage to deceased for the priestesses, in its temples, that not only removed the veils, but all the adereos on its body, to symbolize its entrance to the world of deceased without attachment the corporeal property.
In the dance, the dancer initiates with the seven veils moored in the body, each one of a color, corresponding to seven chakras. To the measure that the dancer dances, the veils one by one go being desamarrados representing the opening of each chakra, to start for chakra basic or sexual and finishing in chakra coronary.
The veils can be of the following colors: red, orange, yellow, green, blue, lilac, white. The clothes of the dance of the womb, under of the seven veils, preferential of clear, soft color. Originally the dance of the Seven Veils, for being ritual, was danced being dressed only the veils. However currently if it uses underneath common clothes of dance of the womb, of white or lilac preference, symbolizing the transmutao.
1 Veil: RED the red veil is associated Mars and to chakra base, its withdrawal means the victory of the cosmic love and the confidence on the aggressiveness and the passion. It is entered with the red veil, strong movements of veil and hips, as beaten and shimies. Normally the red veil measures 3 meters.
2 Veil: ORANGE the veil orange represents Jupiter and chakra sexual, that it dissolves the dominador impulse and it gives solution to the protection feeling and helps the next one. The veil is imprisoned in the hip. One executes movements of shimies, oitos, round, the veil folloies with movements in the height of chakra.
3 Veil: YELLOW the yellow veil represents the Sun and chakra plexo solar, that it eliminates the pride and the extreme vanity, bringing confidence, hope and joy. The yellow veil is covering the belly. The veil co-ordinates with the movements of undulations, lateral oitos, oitos with undulations, round great round intern and.
4 Veil: GREEN the green veil corresponds Mercury and to chakra cardiac, that it shows to the division and indetermination being won by the balance between the opposites. The veil can be in bustie or one of the arms. One executes movements of bust and arms.
5 Veil: BLUE Venus and chakra larngeo is the blue veil, which discloses that the expression difficulty was surpassed, in favor of the good relationship with the dear beings. The veil can be in the neck or the other imprisoned arm to the bracelet. The USA the together veils green and blue with head movements.
6 Veil: LILAC the lilac veil, that represents Saturn and chakra frontal, shows to the dissolution of the severity excess and seriousness, the conquest of the full conscience and the development of the subtle perception. The veil has covered the face as chador. The USA expression of eyes, head, takes off the chador.
7 Veil: WHITE Finally the Moon and chakra coronary are associates to the white color or the silverplated one (the union of all the colors). The fall of the last veil shows to the imagination transformed into creative thought and interior pureness. The white veil is in the head as veil Bedouin. The dancer removes the veil and she uses it with movements of turns, cocoon.

The veils are removed slowly during the execution of the movements, some of them the dancer only remove, while others more carry through elaborated movements. Music must have average duration of 7 minutes. E will have to provide the different variations of movements.
The dancer must assume a personage: the priestess in search of its truth. The wakening of its conscience, its force and power, inside domais perfect balance.

Dance of the nine veils:
The Egyptians believed that the possua man nine bodies or nine parts. Thus, each used veil represented one of them:
1- physical Body
2- Body astral
3- Body spiritual (or soul)
4- the proper shade
5- the heart
6- the immortal spirit
7- the vital energy
8- the conscience spiritual
9- the individuality conferred for the name.

Beledi or Baladi:
It is an Egyptian dance of the field, the agricultural region, and also music. When "it goes for palco" is called Urban Beledi, with clothes with more brightness. The usual suit is a Caftan (species of tnica) adjusted, with cracks in the laterals, also dress call beledi. A handkerchief of triangular head also is comumente used.

Ghawazee dances:
He is attractive very a glad one and amused. A bailado species of of Egyptian ciganas camponesas, with long dresses and colorings, full of tablets and moored handkerchiefs of currencies the head. They are very gracious and risonhas. They infect all its redor.

Sufi dances:
It presents its dervis (men with twirled skirt clothes, very colored), that they turn, turn, turn during forty minutes followed, making impressive evolutions.

Dance of the Zhar:
Popular Egyptian is a ritualstica dance, where the dancer works funny, hair movements, as she was in settles.

Tahtib dances:
It is a masculine dance with batons, making look like a fight, to the sound of tambores (derbak, tabel, to mazhar, deholla, to bendir...), and guided through mizmar (that flute that seems one cornetinha wooden) and the inebriante sound of rabeb. It is a masculine martial dance of Egypt, carried through with long batons that were, historicamente, used in combat.
SOME ACCESSORIES

Snuj
Cane
Turibulo
Veils
Sword
Punhais
Pandeiro
Candelabrum
Goblets
Baton
Jar

DANCES

Khaleege
Saidi
Dance of the Jar
Veil
Double veil
Seven veils
Zar
Serpent
Turibulo
Dance of the Fire
Dance with Sword
Daff
Chamadam
Dance of the Flowers
Dance with Pandeiro
Dabke
Milaya leff
Ground of Derbakke
Dance in the Soil
It dances Egyptian
Dance of the Punhal or Adaga: Element Air - Lilith Goddess
It appeared in the brothels of Turkey, when the europias were enslaved and led to the brothels (1600-1700). Time where the Mouros the control of the Sulto of Turkey abducted the women. The punhal one was an instrument of defense and communication between the dancer and the platia.Representa the death, the transformation and the sex. The dance of the punhal is a strong dance, therefore the dancer will have to use strong musics. For the gypsies the punhal is a symbol that purifica the energies.
Meaning of some movements with the punhal:
- Punhal with the tip for is of the hand: the dancer is free; with the tip for inside: she is enslaved
- Punhal in the chest: it means demonstration of love
- Punhal in the way seios them with the tip threaded in cuts off it: sex
- Punhal in the forehead with the tip for low: magic
- Punhal in the horizontal line of the forehead: assassin
- Punhal in teeth: challenge, dexterity
- To balance the punhal in the womb: dexterity
- To beat the punhal in the case: call for dance
- Punhal with between the hands winding: Homage to somebody of the auditorium
OTHER DANCES
DANCE OF THE JAR
Dance of the Jar or the Samaritana: Element Water - Afrodite Goddess
It was executed in ceremonies presided over for the faras to the side of the river Nile, to ask for to the river that flooded lands in its edges, making possible the plantations and the good harvests.
The dance of the jar can be a folclrica dance, in this in case that the dancer represents and interprets the routine of the bedunas, that walked of its tent until the oasis, where rested, were refreshed with the water of the river, caught a little of water in its jars and returned to its tent. Also it is known as it dances of the river Nile. It represents fertility.
In the dance, the jar in presentations with folclricas rhythmic musics is used, with imprisoned untied dresses with a band in the hips. It can be used with slower musics and winding movements, representing the banns of the Priestesses.
Dance of the Cane or Baton (Raks Al Assaya): Element Land - Hator Goddess
Its origin retraces of old times when in the end of the day the shepherds who referred to flocks with cane or batons, danced gladly with its women in Oases and return of the tents.
Dana of the Cane is a masculine dance that was adapted by bailarinas. danced in a called rhythm Saaidi the dresses is used. They can more right or be folgados, preferential with lateral openings. Handkerchiefs of medals in the hips. In this dance dexterity of the dancer reveals to it, the balance, the charm, detaching its movements of hip and making a parody in relation to the masculine militant dance called "Tahtib". This dance demonstrates force, beauty and sensuality. The suit that used is a dress. The accessory USA of currencies, in the hips and the head.
Khaleege or Khaliji:
It is the folclrica dance of the Persian Gulf, it had origin in the Arab Emirates, is danced in the Saudi rhythm. As in this dance the dancer it uses a wide dress very and long, richly embroidering, the used movements are basically of head, hair, arms, shoulders, legs and the feet that have a very simple work in this dance.
Dana of the Serpent:
Old the dancer danced with a metal serpent (many gold times), therefore this animal one was considered sacred and symbol of the wisdom. Currently one sees some dancers dancing with truth snakes, but this only must be seen as show of varieties, since nor in the primrdios of the dance the animal one was used. For being considered exactly sacred, the serpent was only represented for the adornments used for the dancers and the movement of its body. A register in the book La Magical Danza Del Vientre is verified, of Shokry Mohamed, a dancer portraied in a dance empunhando a serpent. In the Middle East also derviches, through its tribal and catrticas dances if used of serpents. In the current days, we have initially the popularizao of the dance of the womb with the serpent in the United States.
DANCE OF THE FLOWERS
On dance to the harvest. The dancer offers flowers to the public while she dances.
Dance of the Five Elements:
It is a devotion dance. The five elements are the water, the land, the fire, air and ether. Each one of these elements has specific movements in the dance that symbolizes it. In general way, air is danced with the movements of veils; the water receives undulations from hands, the movement of the sereia, the childbirth; the land comes with the movement of representation of the growth of a tree; the fire is represented by movements of serpent and ondulatrios of hip, having symbolized the ascent of kundaline, sexual energy; e ether has its symbolism in the camel, chosen for passing long periods without water or feeding in adverse conditions, as if its force came of a not material power plant.
MELEA LAF
It means "Dance of the rolled up handkerchief". It is a dance that represents the women of the suburb of the Cairo and Alexandria. In the decade of 1930 these women used short and right dresses and not to shock the Muslim religion, if they rolled in great black handkerchiefs adjusting them the body to it. Its husbands, fishing left in trip without date to come back. They believed that they danced themselves for they in the farewell would be seduced and would come back soon. Later the professionals of the dance had included this dance in its repertoires
DABKE
Dbke is a folclrica dance of celebration, traditional between the Arab peoples. Executed in group for a long chain of dancers men and women who if
they give to the hands and if they move in opened circle, or throughout extensive line. The rigid cadenciados steps and the strong marking with the feet indicate the primordial paper of the man in this dance, whose history is in the cadence of its decisive step when kneading the adobe for the construction of its house.
DANCE WITH SNUJS
Snujs or Cmbalos or Saggat: Element Ether - Basted Goddess:
Instrument very similar to ' ' castanholas metallized ", sufficiently is used by the dancers to give rhythm to the dance and to follow music. This dance has more than three a thousand years and was used for the priestesses to energize, to bring positive vibrations and to remove bad fluids of the environment. Some types and sizes of snujs exist, with changeable sounds and timbres. All are made of brass or bronze. They can be great, small, high and low. The ideal size for the dancers is the low mdio.Os is considered the best ones and fixes better in the fingers.
Snujs is touched in the tips of the fingers, with the rubber band placed behind cutculas. This instrument requires much practical and ability, mainly when the dancer if considers to touch while she dances, and must quickly be beaten delicate but, so that the sound has left clearly and clean. Snujs gives vivacity to the presentations.
GOBLETS
Egyptian folklore. Dana of the Candlestick is a very on old dance. It can be used in parties of marriage, anniversaries, batizados.Usa-if slow music. The dancer exterioriza its interior goddess, making of its body a sacred and offered vehicle. The fire of the candles represents the life.
TURIBULO
This is a dance where the accessory very is commented and little used in Brazil. You must know WHEN, WHERE and WHO to dance.
A specific suit does not exist and music must be slow.

PHOTOS Of the DANCE ACCESSORIES HAD BEEN REMOVED Of SITE BELLY DANCE (www.bellydance.com.br)

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Fotos de belly dance e alguns acessorios

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