Raks Sharki

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[Quote = "Shira"] classic Raks Sharqi

" Raks Sharqi " is translated as " Oriental dance ", which is usually referred to as " Belly Dance ". This term includes all svednevostochnye dancing , but most often it is used to denote expressive and elegant style of classical oriental dance . Raks Sharqi is the most elegant presentation of Middle Eastern dance. In this style of dance throughout the Middle East , and especially in Egypt, Lebanon , Syria and Turkey.

Usually Raks Sharqi interpreted by a dancer who often improvises . Movement of the body are isolated and expressed . The dancer is very often on his toes , posture straight , and hand movements are harmonious and are never haphazard .

Probably the biggest influence on the development of Raks Sharqi have two styles : Ghawasee and Baladi. Ghawasee was dance raspostanennym in the north of Egypt, and probably came from India .
The repertoire of the dancers , you will always find a song called entrèe or mezhanse " (this term is of French origin , but widely ispolzuestya in the East ), which is a hallmark of dancers and includes the various rhythms and styles of folk . Usually Use two rhythm : eg Saidi and Khalig .

The difference in interpretation of different countries

Style Raks Sharqi different technique and execution , depending on the country where he was executed .
Lebanese style. Movements differ from the Egyptian style more expressive , especially the hips , more spread the word to use muscles diaphragm . Much more raspostanena also work on the floor. In Lebanon, the preference for slender female dancers . The dance is more pronounced temperament , and the music on the average more dynamic .

Turkish style called «Oriental Tansi». The main difference in the amount of movement. Egyptian dancers move on stage with restraint, controlling his body, and the Turkish vice versa - their movement enfatizirovany . This style is very energetic and even includes acrobatic elements . Ispolzuestya a lot of work in the pit, which was banned in Egypt and eventually lost its popularity.

Naturally, the music has a profound influence on dance . In the Turkish and Lebanese styles Rucks Sharkey uses the same tools as in Egypt, with one difference: the rhythm.
Turkish dancers costume has many differences from the Egyptian , which also affects the impression of dancing. Skirts Turkish «bedla» are higher than the Egyptian and much more used side sections , thereby feet dancers seen as a whole. Also, more often than in Egypt used high-heeled shoes .

Music Raks Sharqi

Music for this style is not any different from that used in other styles.
It can change several times during the rhythm of a song . Unlike the Turkish and Lebanese styles , here the dancer is working on a tune, and not only on the rhythm .
There is always «Taksim» - musical improvisation, usually performed as a solo instrument as a «Oud», «Nay» or the accordion with the possible addition of percussion instrument. Musician runtime «Taksim» masterly dimonstriruet their ability of improvisation , a dancer and convey to the audience the very essence and emotion in songs . This interpretation is very individual , it is impossible to teach because it comes from the personality of the dancer . Normally «Taksim» - is a slow and full of emotional feelings music .
The end of the song usually involves the use of percussion instrument on the rise and quick ending .

Raks Sharqi Suit

The costume of this style is usually open - has two parts (Bedla), skirt can be broad or narrow . Used as a dress - quite narrow , with more or less open or semi-transparent part covering the abdomen (in this case Tareha ( veil ) is not commonly used ) . Can be used as objects Sagatov , Tareha (there are a variety of forms ) and Assaye ( cane )
if you want to use in the composition .
In this style, as in Balad also provided for use Shamadana .

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Thank you so much for the great accurate information.