Mahmoud Reda

Nacido el 18 de marzo de 1930 en El Cairo, Egipto, Mahmoud Reda es un pionero de la danza teatro en Egipto. Solista, coreógrafo y director de cientos de producciones, Mahmoud Reda ha viajado en más de 60 países, realizando en el mundo de la más prestigiosa de las etapas. He has also been principal actor, dancer and choreographer in popular Egyptian films. Mahmoud Reda has been universally acclaimed for his dance with the strength of and appeal of a Gene Kelly or Fred Astaire. También ha sido actor principal, coreógrafo y bailarín en películas populares de Egipto. Mahmoud Reda ha sido universalmente aclamada por su danza con la fuerza y el atractivo de un Gene Kelly o Fred Astaire.
In 1959 he founded the first folk dance company, The Reda Band, which consisted only of 15 members , all dancers. En 1959 fundó la primera compañía de danza folclórica, El Reda Band, que consistía de sólo 15 miembros, todos los bailarines. Today,it has more than 150 talented members including dancers , musicians and technicians . The band has presented more than 300 shows including dances and folkloric songs , ballads , with different rhythm and different features creating an atmosphere of entertainment and happiness . Hoy en día, cuenta con más de 150 miembros, entre ellos talentosos bailarines, músicos y técnicos. La banda ha presentado más de 300 espectáculos incluidos los bailes folclóricos y canciones, baladas, con ritmo diferente y las diferentes características de la creación de una atmósfera de diversión y felicidad. The band also participated in two musical movies : " Mid year vacation " and " Love in Elkarnak". La banda también participó en dos películas musicales: "vacaciones de mitad de año" y "Amor en Elkarnak". Reda Band is endorsed by the Egyptian Government "as a band capable of representing the Egyptian Folklore both in music and dances." Reda banda está avalada por el Gobierno de Egipto "como una banda capaz de representar el folclore egipcio, tanto en la música y las danzas". The group traveled throughout Egypt collecting folk dances, and then toured the world, promoting those dances as fine art, worthy of respect. El grupo viajó por Egipto recogida de danzas folclóricas y, a continuación, recorrió el mundo, la promoción de las danzas como obras de arte, digna de respeto.
As a soloist, choreographer and director, Mahmoud Reda made four world tours to 58 countries with his troupe. Como solista, coreógrafo y director, Mahmoud Reda realizado cuatro giras mundiales a 58 países con su compañía. He performed on the world's most prestigious stages such as Carnegie Hall (NY, USA), Albert Hall (London, UK), Congress Hall (Berlin, Germany), Stanislavsky & Gorky Theaters (Moscow, USSR), Olympia (Paris, France) and the United Nations (NY & Geneva). Actuó en el mundo de las etapas más prestigiosas como el Carnegie Hall (NY, EE.UU.), Albert Hall (Londres, Reino Unido), Palacio de Congresos (Berlín, Alemania), Stanislavsky y Gorky Teatros (Moscú, URSS), Olympia (París, Francia) y las Naciones Unidas (Nueva York y Ginebra). The Reda Troupe has performed for many world leaders and Heads of states. El Reda Troupe ha realizado durante muchos líderes mundiales y jefes de los estados. Mr. Reda received Egypt's Order of Arts and Science in 1967, The Star of Jordan in 1965 and the Order of Tunisia in 1973. Sr Reda Egipto recibió la Orden de las Artes y las Ciencias en 1967, la estrella de Jordania en 1965 y la Orden de Túnez en 1973. In 1999, he was honored by the International Dance Committee/Unesco and by the International Conference on Middle Eastern Dance in May 2001. En 1999, fue honrado por el Comité Internacional de la Danza-Unesco y por la Conferencia Internacional sobre Oriente Medio de Danza en mayo de 2001.
Mahmoud Reda draws from techniques of jazz, ballet, Hindu dance and folkloric dance from the USSR. His work has shaped and influenced what is known today as Oriental Dance (Raks Sharki). Many former troupe members include master teachers Raqia Hassan, Momo Kadous, Mo Geddawi and Yosry Sherif. Mahmoud Reda se basa en técnicas de jazz, ballet, danza hindú y danza folklórica de la URSS. Su obra ha influido en forma y lo que se conoce hoy como la Danza Oriental (Sharki RAKS). Troupe Muchos ex miembros incluyen a profesores Raqia Hassan, Momo Kadous, Mo Geddawi y Yosry Sheriff.


Born on 18 March 1930 in Cairo, Egypt, Mahmoud Reda is a pioneer of dance theatre in Egypt. Soloist, choreographer and director of hundreds of productions, Mahmoud Reda has toured in more than 60 countries, performing on the world's most prestigious stages. He has also been principal actor, dancer and choreographer in popular Egyptian films. Mahmoud Reda has been universally acclaimed for his dance with the strength of and appeal of a Gene Kelly or Fred Astaire.


In 1959 he founded the first folk dance company, The Reda Band, which consisted only of 15 members , all dancers. Today,it has more than 150 talented members including dancers , musicians and technicians . The band has presented more than 300 shows including dances and folkloric songs , ballads , with different rhythm and different features creating an atmosphere of entertainment and happiness . The band also participated in two musical movies : " Mid year vacation " and " Love in Elkarnak". Reda Band is endorsed by the Egyptian Government "as a band capable of representing the Egyptian Folklore both in music and dances." The group traveled throughout Egypt collecting folk dances, and then toured the world, promoting those dances as fine art, worthy of respect.


As a soloist, choreographer and director, Mahmoud Reda made four world tours to 58 countries with his troupe. He performed on the world's most prestigious stages such as Carnegie Hall (NY, USA), Albert Hall (London, UK), Congress Hall (Berlin, Germany), Stanislavsky & Gorky Theaters (Moscow, USSR), Olympia (Paris, France) and the United Nations (NY & Geneva). The Reda Troupe has performed for many world leaders and Heads of states. Mr. Reda received Egypt's Order of Arts and Science in 1967, The Star of Jordan in 1965 and the Order of Tunisia in 1973. In 1999, he was honored by the International Dance Committee/Unesco and by the International Conference on Middle Eastern Dance in May 2001.
Mahmoud Reda draws from techniques of jazz, ballet, Hindu dance and folkloric dance from the USSR. His work has shaped and influenced what is known today as Oriental Dance (Raks Sharki). Many former troupe members include master teachers Raqia Hassan, Momo Kadous, Mo Geddawi and Yosry Sherif.

Tarkan ~ Vay Anam Vay

"VAY ANAM VAY"


Sorma, derdin nedir diye sorma
Gel gör halimi gör de anla
Azar azar içim
Yanar durur o biçim
Öl dese ölürüm onun için

Çok seviyorum hem de çok
Tam kalbime geldi ok
Delisiyim o canına yandığımın
Vurgunuyum haberi yok

Vay Anam Vay halime
Vay Anam Vay
Dişi eli yakar içi beni
Dile kolay

Söndü havam fiyakam
Menziline gireli
Şimdi sabahı zor ediyorum geceleri
Azar azar içim

Yanar durdur o biçim
Öl dese ölürüm onun için
Çok seviyorum hem de çok
Tam kalbime geldi ok

Delisiyim o canına yandığımın
Vurgunuyum haberi yok
Yok derdime çare yok
Tam kalbime geldi ok
Kölesiyim o canına yandığımın
Vurgunuyum haberi yok

Vay Anam Vay Halime
Vay Anam Vay



Don't ask that, what is your problem, don't ask
Come and see my situation and understand
My inside burns slowly slowly
If she says "die" i will die for her

Love her much, soooo much
Arrow hit my heart
I'm mad about that girl
I'm crazy about her but she doesn't know
God pity me
Pity me
She is not as she seems
I haven't been attractive since i got into your range
Now i can wait for mornings to come
I'm dying for her
I die if she asks me to
I love her so much
I am hit by heart
I am crazy for her
She is not aware of that
There is no cure for my plague
I am her slave
She is not aware of that
God pity me
Pity me
She is not as she seems

JORGE DONN

Jorge Donn was born on 25th February 1947 in Buenos Aires. He began to dance when he was 4 or 5 years old, then studied at the Colon Theatre school. His teacher was María Fux.
In 1963, he arrived to Brussels to work in the Maurice Béjart company and soon became its principal dancer. In 1979, he performed for the first time Boléro, ballet that was created for a woman. His interpretation of Boléro in Claude Lelouch's film Les uns et les autres (aka Boléro) is unforgettable.
Many Béjart's works were created expressly for him: Bhakti (1968), Nijinsky, clown of God (1971), Golestan, or The garden of roses (1973), Ce que l'amour me dit (1974), Notre Faust (1975), Léda (1978), Adagietto (1981) and others.
Since 1976, Jorge Donn was artistic director of the Ballet of the 20th Century. In 1988, he founded his own company, L'Europa Ballet, which existed for a short time.
In 1989, Jorge Donn was nominated by Konex foundation as one of the best dancers.
Jorge Donn died of AIDS on 30th November 1992 in Lausanne. Many choreographers created their ballets as tribute for him: Maurice Béjart (Ballet for Life), Denys Ganio (Tango... a rose for Jorge Donn), Carolyn Carlson (Homage for Jorge Donn), Grazia Galante (Masticando Sueños).

Jorge Donn nació en Buenos Aires el 25 de febrero de 1947. Comenzó a bailar a los cuatro o cinco años. Estudió en la Escuela del Teatro Colón en Buenos Aires. Su maestra era María Fux.
En 1963, el joven llegaba a Bruselas para trabajar en la compañía de Maurice Bejart y pronto se hizo su bailarín principal. En 1979, interpretó por primera vez El bolero, ballet que fue hecho para una mujer. Es memorable la interpretación del Bolero que realizó Jorge Donn en el filme Los Unos y Los Otros, del director Claude Lelouch.
Muchas obras de Bejart fueron creados especialmente para él: Bhakti (1968), Nijinski, clown de Dios (1971), Golestan: el jardín de las rosas (1973), Lo que el amor me dice (1974), Nuestro Fausto (1975), Leda (1978), Adagietto (1981) y otras.
Desde 1976 era director artístico del Ballet del Siglo XX. En 1988 formó su propia compañía L'Europa Ballet que existió corto tiempo.
En 1989, fue nominado por la fundación Konex como uno de los mejores bailarines.
Murió de sida el 30 de noviembre de 1992 en Lausanne. Fue homenajeado por muchos coreógrafos: Maurice Bejart con su Ballet por la vida (o El presbiterio no ha perdido nada de su encanto ni el jardín de su esplendor), Denys Ganio (Tango... una rosa para Jorge Donn), Carolyn Carlson (Homenaje a Jorge Donn), Grazia Galante (Masticando Sueños).

Natacha Atlas - Why are We Fighting?ليش نتعارك؟

Natacha Atlas - Why are We Fighting?ليش نتعارك؟Leysh Nat'arak?

leysh nat'arak, ounahna koulna sawa
leysh nat'arak, ounahna koulna sawa
ismar albek, bi t'ralef fil haia
ismar albek, ou y'arlef al haia

bini ou binek, aya tawila
leysh nat'arak, ounahna koulna sawa

leysh nat'arak, ounahna koulna sawa
leysh nat'arak, ounahna koulna sawa
ismar albek, bi t'ralef fil haia
ismar albek, ou y'arlef al haia
bini ou binek, aya tawila
leysh nat'arak, ounahna koulna sawa

fi l'mahaba fi salaam
(ismar albek, bi t'ralef fil l'haia)

fi salaam fi l'mahaba
(ismar albek, ou y'arlef al haia)

yalla nat'salih irna irwaa
mara lahma mi baraka
allah

leysh nat'arak, ounahna koulna sawa
leysh nat'arak, ounahna koulna sawa
ismar albek, bi t'ralef fil haia
ismar albek, ou y'arlef al haia

bini ou binek, aya tawila
leysh nat'arak, ounahna koulna sawa

yalla narga li salaam
(bini ou binek, aya tawila)

yalla narga li marhaba
(bini ou binek, aya tawila)

ma lehmat allah yalla
anatsalih t'arna irwa
wi alham allah wi barek

leysh nat'arak, ounahna koulna sawa
leysh nat'arak, ounahna koulna sawa
ismar albek, bi t'ralef fil haia
ismar labek, ou y'arlef fil haia

bini ou binek, aya tawila
leysh nat'arak, ounahna koulna sawa

leysh nat'arak, ounahna koulna sawa
leysh nat'arak, ounahna koulna sawa
ismar albek, bi t'ralef fil haia
ismar albek, ou y'arlef fil haia

bini ou binek, aya tawila
leysh nat'arak, ounahna koulna sawa

leysh nat'arak, ounahna koulna sawa
leysh ...
leysh nat'arak, ounahna koulna sawa
ismar albek, bi t'ralef fil haia
leysh ...
ismar albek, ou y'arlef fil haia
bini ou binek, aya tawila
leysh nat'arak, ounahna koulna sawa
fi salaam ...
leysh nat'arak, ounahna koulna sawa
fi l'mahaba ...
leysh nat'arak, ounahna koulna sawa
ismar albek, bi t'ralef fil haia
ismar albek, ou y'arlef fil haia
fi salaam ...
bini ou binek, aya tawila
leysh nat'arak, ounahna koulna sawa
leysh nat'arak, ounahna koulna sawa

Natacha Atlas - Why are We Fighting?

Why are we fighting when we are all together?
Why are we fighting when we are all together?
Listen to you heart and you will know the truth
Listen to your heart for it knows the truth
Between us there is a long history
Why are we fighting when we are all together?

In love there is peace
(Listen to your heart and you will know the truth)
In peace there is love
(Listen to your heart for it knows the truth)
Let's make good for we are brothers
How great is the mercy and blessing of God

Let's return to peace
(Between us there is a long history)
Let's return to love
(Between us there is a long history)
How merciful God is
Let's make good for we are brothers
God bless and have mercy


ليش نتعارك - Natacha Atlas


ليش نتعارك ونحن كلنا سوا
ليش نتعارك ونحن كلنا سوا
اسمع قلبك بتعرف الحقيقة
اسمع قلبك هو يعرف الحقيقة
بيني وبينك ايام طويلة
ليش نتعارك ونحن كلنا سوا

في المحبة فيه السلام
اسمع قلبك بتعرف الحقيقة
في السلام فيه محبة
اسمع قلبك هو يعرف الحقيقة
يلله نتصالح احنا اخوا
ما رحمة ما بركة الله

يلله نرجع للسلام
بيني وبينك ايام طويلة
يلله نرجع للمحبة
بيني وبينك ايام طويلة

ما رحمة الله
يلله نتصالح احنا اخوا
ويرحم الله ويبارك

CYRINE ** LAW BASS FI AINI **

Law Bas Fe Aini(if he looks in my eye)

tkalim wala laa ya albido

i speak or not ,my heart

Wala aaa'mel eihor

what shall i do?

Mosh waaef balo leh ya albiwhy

his mind is not frozen?

W bi fakar leh

why does he think?

Dah a'ainaya w kol haga fiya

my eyes and everything in me

Betnadi a'alekare

calling him

Law bass fi a'einy marra basif

he looks in my eyes only once

ha yhes aawam bi shoai le

he'll feel my passion for him right away

Law bass fi a'einy marra bas

if he looks in my eyes only once

ha yhes bi eni dayba fi

he'll feel that i'm melting in him

Law aali taa'ali albi daaif

he asks me to come ,my heart beat

sana rohlo aawam ma aolshi laa

i'll come to him i won't say no

Ana hali howa bardo halo

my state is like hi

sa'ala eih mashghoul

what are he busy for?

W fi bali kol shi fi balo

i'm thinking what i think

Mosh lazem aaoul

i don't have to say

Maylalo aywa moshtaaalo

i'm going toward him yes i miss him

hashtaa a'ala toul

i'll miss forever

اعمار - ميحد حمد - فزاع

PRINCE OF DUBAI SHEIKH HAMDAM

El Mady - Amr Diab

El Dabke دبكة (http://www.folklorelibanes.com.ar)

Dabke

El origen del dabke (debka/debke/debkeh/dabka) que en árabe significa "zapateo" es en el norte del Líbano, se origino como consecuencia de una necesidad, en la antigüedad las casas eran de piedra y barro con sus techos de madera paja y barro, se ponían unos tirantes como postes de teléfono sobre los techos y luego se le hacia una capa de paja y barro de 50 centímetros de espesor, que como consecuencia del clima esta capa se resquebrajaba y obviamente cuando llovía se filtraba agua dentro de las casas por eso mismo se debía reparar, la forma de repararla era humedeciendo el barro y pisoteándolo, de esta forma el techo cubría sus grietas, para este trabajo se requería de bastante gente y de mucho tiempo, es por esto que se hacia en grupos generalmente de vecinos que se reunían a ayudarse entre si. Para que el plegado de la tierra fuere uniforme en todos los lugares, se alineaban y agarraban de la mano y daban un paso adelante y un pisotón, luego un paso hacia atrás y un pisotón, luego por consecuencia y para que esto no sea aburrido y cansador algunos cantaban una poesía e ivan bailando al ritmo de ella, dando un paso adelante un pisoton y un paso a la derecha un pisoton. Luego con el correr del tiempo se agregaron instrumentos de música a estas poesías con lo que le da el origen al baile y música del dabke. Hoy en día se baila en ronda girando para la derecha agarrados de la mano, con uno o varios punteros que se le denominan “ras” que en árabe significa cabeza.



Dabke

De Wikipedia, la enciclopedia



Dabke (también transcrito del árabe como debke y dabkeh ) es la danza popular tradicional del Levant , yendo detrás las generaciones, y es también la danza nacional de Líbano . Puede ser bailado por los hombres, mujeres, o ambos, con diversos pasos y diversos ritmos siendo más comunes en diversas áreas de el Oriente Medio . Dabke es una danza de la comunidad, realizada a menudo en las bodas y otras ocasiones felices. Como otras danzas populares de Turquía , de Grecia , de Armenia , y de Europa del este , el dabke es una danza de la línea , similares al hora y a los freilekhs de Ashkenazic .Sin embargo, es también una danza de la solidaridad y de una manera de expresar nacionalismo y la presencia histórica del arte y de la cultura en una manera positiva. Suponen al líder de Dabke ser como un árbol, con los brazos en el aire, un tronco orgulloso y vertical, y los pies que stomp la tierra en el rhythym, acentuando su conexión a su tierra. Su significado en árabe es el "stomping de los pies," y stomping, así como saltar y golpear con el pie, son los movimientos que caracterizan el dabke de una manera única. Se permite al líder, o los raas, improvisar en el tipo de dabke que es bailado, y él o ella también estaría girando un pañuelo o una cadena de granos conocidos como masbha , mientras que el resto de los bailarines guarda el ritmo.Fue popularizado y modernizado durante el vigésimo siglo por los compositores Assi y Mansour Rahbani y cantantes lebanese como Zaki Nassif, Fairuz , EL Safi, y Nasri Shamseddine, todo de Wadih que se realizó en el festival legendario de Baalbek. Esto fue sostenida en los templos romanos antiguos de Baalbek , Líbano . Algunos ejecutantes famosos de varios troupes en Líbano incluyeron Alain Merheb, Kigham, y Hassan Harfouche.[ corrija ]OrigenHay varias teorías en su origen, ninguno que se documenten bien. Algunos dicen que era los turcos que lo introdujeron, puesto que la mayoría de las culturas del este medias con la línea que bailaba estaban bajo influencia del otomano. Es más probable sin embargo que relativamente a los armenios influenciaron a los nuevos turcos el Kurds, los Griegos, los árabes y dados el hecho de que sus culturas son más antiguas y frecuentes en el Oriente Medio. Sin embargo, los turcos pudieron haber recibido la danza de los gitanos (o viceversa) puesto que la mayoría de los instrumentos afiliados con el dabke son también afiliados con de Ghajar y de Nawar las tribus de los gitanos, particularmente que pueblan el Oriente Medio : buzuk , tabl , mijwiz , mizmar , minjayra , y kamanja ( rababa ). Algunas canciones populares del dabke, como el ala Ain Moulayiteen tienen contrapartes gitanas turcas ( Shashkin es su nombre en Turco). Pudo también haber influenciado bailar indio del norte.Otra teoría de su origen se relaciona con el ala bien conocido Dalouna de la canción del dabke . Hicieron los habitantes del Levant usado para vivir en las casas construidas de piedras y de azoteas fuera de la madera, de la paja, y de la suciedad. Cada vez antes de que lloviera, la azotea fue supuesta para ser condensada, y utilizan condensar la con una piedra del balanceo, o el mahdaleh . Pero antes del mahdaleh , utilizan condensarlo con sus pies, y este acontecimiento necesitó a muchos hombres fuertes que tuvieron que stomp la suciedad difícilmente de una manera uniforme que la condensaría uniformemente. Este acontecimiento de la cooperación se llama ta'awon y de aquí viene el awneh de la palabra , significando "ayuda." Esto desarrollada en el ala Dalouna de la canción , o traducida áspero "vamos ir y ayudar." Por lo tanto, el dabke y las canciones rythmic entran juntos en una tentativa de guardar la diversión del trabajo y útil. Los músicos jugarían eventual para ellos de modo que la azotea fuera estampada abajo de una manera homogénea, sellando todas las grietas y condensando la suciedad, haciendo que el agua fluye abajo de la azotea sin ir dentro de la casa.
http://en.wikipedia.org/wiki/Dabke

Fairouz - Nassam Alayna Al Hawa - فيروز - نسم علينا الهوي

Nassam Alayna El Hawa: nassam 3alayna el-hawa
men mafra2 el-wadi
ya hawa dakhl el-hawa
khedny 3ala blady
(3x)
ya hawa ya hawa
yally tayer bel-hawa
fe mantoura ta2a w soura
khedny la 3endon ya hawa
(2x)
fez3ane ya alby
ekbar be hal-ghorbe
w ma te3refny blady
khedny, khedny
khedny 3ala blady
nassam 3alayna el-hawa
men mafra2 el-wadi
ya hawa dakhl el-hawa
khedny 3ala blady
shu bena? shu bena?
ya 7abiby shu bena?
kento w kenna tdallo 3enna
w eftara2na shu bena?
(2x)
w ba3da esh-shams btebky
3al-bab w ma te7ky
w ye7ky hawa blady
khedny, khedny
khedny 3ala blady
nassam 3alayna el-hawa
men mafra2 el-wadi
ya hawa dakhl el-hawa
khedny 3ala blady
(2x)

Arabic Text:
نسم علينا الهوا
من مفرق الوادي
يا هوا دخل الهوا
خذني على بلادي
يا هوا يا هوا
ياللي طاير بالهوا
في منتورة طاقة و صورة
خذني لعندهن يا هوا
فزعانه يا قلبي
اكبر بهالغربة
و ما تعرفني بلادي
خذني، خذني
خذني على بلادي
نسم علينا الهوا
من مفرق الوادي
يا هوا دخل الهوا
خذني على بلادي
شو بنا شو بنا
يا حبيبي شو بنا
كنت و كنا تضلوا عندنا
و افترقنا، شو بنا
وبعدها الشمس بتبكي
عالباب و ما تحكي
ويحكي هوا بلادي
خذني، خذني
خذني على بلادي
نسم علينا الهوا
من مفرق الوادي
يا هوا دخل الهوا
خذني على بلادي

Translation:
the air breezed upon us
from the sptit of the valley
oh breeze, for love's sake
take me home
(3x)
oh love, oh love
that is flying in the breeze
there's a mantoura (type of flower) with energy and image
take me to them, breeze
(2x)
I'm scared, my heart
to grow up in this estrangement
any my home wouldn't recognize me
take me, take me
take me home
the air breezed upon us
from the sptit of the valley
oh breeze, for love's sake
take me home
what's with us? what's with us?
oh my love, what's with us?
we and you used to stay with us
and now we've separated, what's with us?
(2x)
and the sun is still crying
on the door and doesn't talk
and the love of home is talking
take me, take me
take me home
the air breezed upon us
from the sptit of the valley
oh breeze, for love's sake
take me home
(2x)

OM KALTHOUM

Om Kalthoum * FAKKAROUNI * They Reminded Me

Umm Kalthum.
فكروني أغنية لأم كلثوم

FAKKAROUNI
Transliteration / ترجمة صوتيه

kilmouni taani anak
fekrouni fekrouni
sahwa naar ash shouq
fi qalbi wafi ayouni
rajawaa li al maadi binaeema wahnaawata
wabahlaawata wa baazaaba wa baqsaawata
waftekrat farhat wayaak qad eih
waftekrat kamaan ya rouhi baadna leih
baadma sadqat ini qadrat ana
baadma qalbi qadar yeslaak weeqsa
jam bahemsa wa gheerouni
kaanwa leih beefakrouni
baad ma atawadat baadak ghasab ani
baad ma naseet al amaani waltamni
kalemteen atqaalwa
shaalwa as sabr mani
sahwa fi aini haneenham la bitsaamak
sahwa samai youd kelma min kelaamak
sahwa hana al gheera
sahwa li zanouni
wabtada qalbi yadoubni ba ahaata
wabtada el leil yebqa atoul min saata
wa sahar asma nabad qalbi beenadeek
rouhi feek mahma jara ana rouhi feek
teswa eih ed donia winta mosh maaya
hi tebqa ed donia donia ila beek
illi faat wayaak ya rouhi bawad ilei
walli asht maak rajat aeesh alei
baad ma sadqat ini qadrat ansa
baad ma qalbi qadar yeslaak weeksa
jam bahamsa wa gheerouni
kaanwa leih beefakrouni
kilmouni taani anak
baad toul hermaani minak
jaw hawa al jarah illi qarb yabqa zekra
saharouni aeesh fi bikra wa baada
ya hayaati ana kol heera
wa gheera wa shouq ileik
nafsi ahrab min azaabi
nafsi artaah bein eedeek
walkhasaam walhajar wa layali al asya
kol doul ma yahounush hobak alli
willi jawa al qalb kaan fi il qalb jawa
rahna wa atgheerna ahta ila howa
howa nafs al hob wa aktar
howa nafs ash shouq wa aktar
li faat wayaak ya rouhi bawad ilei
walli ashta maak rajat aeesh alei
baad ma sadqat ini qadrat ansa
baad ma qalbi qadar yeslaak weeqsa
jam bahamsa wa gheerouni
kaanwa leih beefakrouni
ya habeebi hayati baadak mostaheela
ya habeebi walhaya ayaam qaleela
leih nadeea amr na hajar wakhsa
wahna naqadar nakhlaq ed donia al jameela
balwadaad wal qarab tetjadad hayaatna
balhanaan wal hob tetbadal ahaatna
walli jaay naeesha ahla min illi faatna
wal qamr min farahna heynour aktar
wannajoum hetbaan lana ajmal wa akbar
wash shajar qabal errabeea henshowfa akhdar
walli faat nensah nansa kol asa
yalla nelhaq min azzaman ayaam safaa
di elhaya min gheer laqaana mosh haya
wahna mosh hanaeesh ya rouhi marteen
fekrouni izzay howa ana naseetak
danta aqrab mini leih ya hanaaya
mahma kont baeed alli aw maaii
tentahi al ayaam wantawi al amr mina
danta hobak lil abd maaloush nahaaya

English Translation / ترجمة إنجليزية

They told me again about you... they reminded me
They awoke the fire of love in my heart and in my eyes
The past returned to me with its sweetness, its richness, it's sweetness, its torture, its offense
And I remembered I was so happy with you
And I also remembered, my soul, why we are far from each other
After I believed that I could forget... after my heart could forget you and grieve
So much as a whisper and they changed me... why were they reminding me?
After I was returned to your farness was forced upon me
After I forgot the hope and wishes, and desires
Two words came... and my patience left me
They awoke in my eye nostalgia for your smile
They awoke my ears wanting to heart you say just one word
And my heart began melting me... melting me with its sighs
And the night began... began lasting longer than its hours
And I stay awake listening to the pulse of my heart calling me
My soul is in you no matter what happens... my soul is in you
What does the world equal when you are not with me...
It remains the world only with you
That which passed with you, my soul, I return to
And that which I lived with you I am reliving
They told me again about you
After all my depravation from you
They injured the injury that was close to remaining a memory
They kept me awake living for tomorrow... I live for tomorrow and the day after
I live for tomorrow and the day after
Oh my life I am confused, on fire and jealous
And my desire for you... I run flee from my self torment, my soul relaxes in your hands
And the animosity, and you and the nights of history of every country... countries that don't matter to your heart
And that which is inside the heart was in his heart
We went and changed... except for him
It is the same love and more
It is the same love and more
It is the same love and more
Oh my darling
Oh my darling
My life is impossible far from you
Oh my darling
Life is is only a few days
Why have we lost our years to abandonment and animosity
While we are able to create a beautiful world
Why, why, why
Why have we lost our years to abandonment and animosity
While we are able to create a beautiful world
With the loving and the heart
Our live is renewed with affection and love replaces our sighs
And that which is coming we will live more sweetly than that which passed
The moon will be brighter from our joy
And the stars will be more visible and beautiful to us
And trees will be greener before the spring
And that which passed we will forget, and we will forget all of the bad
Let's make up time with days of travel
The life wihtout our meeting is no life
And we will not live, my soul, twice
How do they remind me, You're he who I forgot
Why are you closer to me?
Oh my bliss... even when you are far from me or with me
The days end
And we finish are days... and your love is forever
Forever, forever, it has no end, it has no end
Your love has no end, it has no end

Original Arabic Lyrics / كلمات الأغنية

كلموني تاني عنك ....... فكروني .. فكروني (2)
صحوا نار الشوق الشوق في قلبي .. و فعيوني ..
رجعولي الماضي بنعيموا وغلاوته و بحلاوته وبعزابو بأ ساوته ...
و افتكرت فرحت وياك اد ايه ...
و افتكرت كمان يا روحي بعدنا ليه .. بعدنا ليه.. بعدنا ليه
بعد ما سدئت اني ادرت انسى ... بعد ما قلبي ادر يسلاك و يأسى (2)
جم بهمسة و غيروني .. كانو ليه.. ليه.. ليه.. ليه بيفكروني ..............
بعد ما اتعودت بعدك غصب عني.. غصب عني (2)
بعد ما نسيت الأماني و المني .. و التمني (2)
كلمتين اتألو اتألو .. شالو الصبر مني (2)
صحوا في عيني حنينهم لابتسامك ... صحو سمعي يود كلمه من كلامك .. (2)
صحوا حتى الغيرة صحولي ظنوني (3)
و ابتدى البي يدوبني .. يدوبني باهاتو باهاتو
و ابتدى اليل اليل اليل . اليل يبأى اطول من ساعاته
و اسهر اسمع نبض البي بيناديلي .. بينادينلي
روحي فيك مهما جرى أنا روحي فيك .. أنا روحي فيك
تسوى ايه الدنيا و انت مش معايا .. هي تباى الدنيا دنيا الا بيك
اللي فات وياك يا روحي بعود اليه ... (2)
و اللي عشته معاك رجعت أعيش عليه أعيش عليه أعيش عليه
كلموني تاني.. تاني عنك .. كلموني تاني .. تاني عنك
بعد طول حرماني.. حرماني .... حرماني منك
جرحوا الجرح اللي ارب يبأى زكرى (2)
سهروني اعيش لبكرة... اعيش لبكرة وبعد بكرة
أعيش لبكرة و بعد بكرة
يا حياتي انا كللي حيرة ونار و غيرة
و شوقي ليك.. نفسي اهرب من عزابي نفسي ارتاح بين ايديك نفسي ارتاح بين ايديك ارتاح.. بين ايديك
و الخصام و انت و ليالي الاسية كل دول .. دول ما يهونوش حبك عليه (3)
و اللي جو القلب كان في القلب هو
رحنا و اتغيرنا احنا الا هو
هو نفس الحب و اكتر
هو نفس الحب و اكتر
هو نفس الشوق و اكتر .. هو هو هو هو ..
اه .. اه .. اه . اه.... يا حبيبي ..
اه .. اه .. اه .. اه.. يا حبيبي ..
حياتي بعدك مستحيلة ...
اه . اه . اه .. اه .. يا حبيبي
الحياه ايام قليلة
ليه نضيع عمرنا هجر و خصام ...( 3)
و احنا نقدر نخلق الدنيا الجميلة ...
ليه .. ليه .. ليه ..
ليه . ليه . ليه نضيع عمرنا هجر و خصام واحنا نقدر نخلق الدنيا الجميلة
بالوداد و القرب (2)
تجدد حيتنا بالحنان و الحب تتبدل اهاتنا
والجاي نعيشة احلى من اللي فاتنا ...احلى من اللي فاتنا .......
القمر من فرحنا حينور اكتر..
و النجوم حتبان لنا اجمل و اكبر..
و الشجر قبل الربيع قبل الربيع حنشوفه اخضر
و اللي فات ننساه... و ننسى كل اساه
يلا نلحق من الزمن ايام سفر ..
الحياة من غير لقانا مش حياة
و احنا مش حنعيش يا روحي مرتين
فكروني ازاي هو انا نسيتك.. (2)
انت اقرب مني ليه ...
يا هنايا .. حتى وانت بعيد علي او معايا
تنتهي الايام.. (2)
و نطوي العمر منا وانت حبك انت .. انت
للابد.. للابد.. ملوش نهايا.. ملوش نهايا
حبك انت ملوش نهايا ملوش نهاياااااا
Retrieved from "http://www.shawshara.com/wiki/Fakkarouni"

Cheb Mami and Kathim el-Saher - I'm Sitting in a Coffee House

Cheb Mami and Kathim el-SaherDialogue:

Cheb Mami:Hey man, this lady drives me crazy

Kathim el-Saher:I'm attracted to this lady

Mami:Why do you know her? She's mine

Kathim:Yeaaah by great God we must know her

Mami:Kathim she's mine all mine

Kathim:Mami, mami she's mineI sit in a coffee house waiting for my pretty lady to come

I sit in a coffee house waiting for my pretty lady to come

I flip through the daily pages and do infantile things

I'm sitting in a coffee house, sitting in a coffee house waiting

Mami:

I flip through the daily pages and do infantile things

I sit in a coffee house, sit in a coffee house waiting

Would she be pleased to marry me?Would my pretty lady be pleased?

My horoscope tells me about my day

My constellation rises with love and hope

It tells me of five dangers that will come to me in my honeymoon

I sit in a coffee house, sit in a coffee house waiting

Kathim:

I flip through the daily pages and do infantile things

I sit in a coffee house, sit in a coffee house waiting

In the horoscopes section I search for the constellation of love

Help me constellation of love

Reassure me oh constellation of loveWill my pretty lady come?

Mami:

In the horoscopes section I search for the constellation of love

Help me constellation of love

Reassure me oh constellation of loveWill my pretty lady come?

Repetition of lines

End dialogue

Kathim:Mami, it's better we stay single

Mami:By God you're right love is torture

شاب مامي وكاظم الساهر - اجلس في المقهىشاب مامييا صاحبي هاد السيدة

هبلتنيكاظم الساهرهاد السيدة جذبتني اناشاب ماميليه انت تعرفها؟هادي نتاعي اناكاظم الساهراييييه والله العظيم لنعرفهاالشاب ماميكاظم هادي نتاااعي انا والوكاظم الساهرمامي مامي هادي الي اناااااجلس في المقهى منتظرا ان تاتي سيدتي الحلوةاجلس في المقهى منتظرا ان تاتي سيدتي الحلوةابتاع الصحف اليومية افعال اشياء طفوليةاجلس في المقهى اجلس في المقهى منتظرااجلس في المقهى منتظرا ان تاتي سيدتي الحلوةاجلس في المقهى منتظرا ان تاتي سيدتي الحلوةشاب ماميابتاع الصحف اليومية افعال اشياء طفوليةاجلس في المقهى اجلس في المقهى منتظراهل ترضى ان تتزوجني هل ترضى سيدتي الحلوة ؟يخبرني برجي عن يومي يشرق بالحب وبالامليخبر عن خمسة اخطار ياتونا عن شهر العسلاجلس في المقهى اجلس في المقهى منتظرااجلس في المقهى منتظرا ان تاتي سيدتي الحلوةاجلس في المقهى منتظرا ان تاتي سيدتي الحلوةكاظم الساهرابتاع الصحف اليومية افعال اشياء طفوليةاجلس في المقهى اجلس في المقهى منتظرافي باب الحظ افتش عن برج الحبساعدني يا برج الحب طمني يا برج الحبهل تاتي سيدتي الحلوة ؟شاب ماميفي باب الحظ افتش عن برج الحبساعدني يا برج الحب طمني يا برج الحبهل تاتي سيدتي الحلوة ؟كاظم وماميابتاع الصحف اليومية افعال اشياء طفوليةاجلس في المقهى اجلس في المقهى منتظرااجلس في المقهى منتظرا ان تاتي سيدتي الحلوةاجلس في المقهى منتظرا ان تاتي سيدتي الحلوةكاظم وماميابتاع الصحف اليومية افعال اشياء طفوليةاجلس في المقهى اجلس في المقهى منتظراكاظم الساهرمامي خليني نتعذب احسنشاب ماميوالله لعندك الحقيقة الحب عذاب

::BELLYDANCE::. HAGALLA

Hagalla (Mahmoud Reda)

"I am not doing folklore. It is inspired by folklore." - Mahmoud Reda, July 31, 2006.
The Western Desert
The dance called the hagalla comes from the western desert region of Egypt. (See the shaded area on the map.) Hagalla is generally believed to be a Libyan dance tradition which was brought to Egypt by Libyan migrants.
In the course of researching Egyptian folk culture, Mahmoud Reda would approach the local governors with his request. They in turn would try to arrange opportunities for him to see local music and dance. For his research into the western desert folk culture, Reda decided to travel to Mersa Matrouh, which is very near the Libyan border.
Mersa Matrouh is along the Mediterranean coast, about halfway between Alexandria and the Libyan border. Today, a road which takes about 4 hours to travel one way connects Mersa Matrouh with Siwa. However, back when Reda was conducting his research, there was no such road. Traveling from Mersa Matrouh to Siwa took about 10 hours, allowing time to get lost along the way and double back.
Arranging to See It
When Reda arrived in Mersa Matrouh, he contacted the local officials to request their cooperation in helping him arrange to see local folk dance. Unfortunately, the General Secretary was sick, so Reda worked with his assistant. He was told that a wedding was scheduled for the coming Thursday, but it was early in the week and Reda's schedule did not allow him to stay that long. The official then said he would let that couple marry yet that same night. Of course, there was the difficulty of notifying all of the guests of the change in plans. The official handled this by sending his people out in the wee hours of the morning to fire guns in the street to wake people up. When they stuck their heads out the windows to investigate what the noise was about, they were told of the change in plans for scheduling the wedding.
Observing the Dance
In the environment observed by Reda, the hagalla dance was performed by a professional dancer at a wedding. The term "el hagalla" referred to the dancer herself. For this wedding, the dancer prepared herself inside the house, where the women were, while Reda waited with the men outdoors. Because he was a man, there was no opportunity for Reda to see what occurred inside the house while the dancer was still inside with the other women.
The gathered men were eager and began to clap in a simple, steady rhythm of one clap per count. The dancer waited, holding back, waiting for the claps to build in volume and intensity. Eventually she came outdoors to perform for them. The men were standing in little clumps - 3-4 in one place, 4-5 in another. The dancer headed for the group that was clapping the most loudly and danced for them. Another group became jealous and started clapping more loudly, to attract her over to dance for them. One man might go down on one knee to clap to show his excitement, another might lie on his side while continuing to clap. The men didn't actually dance, just clapped and acted enthusiastic to get the dancer's attention. This activity continued for about an hour, with the dancer moving from group to group to dance for them.
The movement by the dancer is very simple. Reda demonstrated it in the interview, and it is what many Americans call the ¾ shimmy, the version where the hip on the weighted leg goes down, up, down. He observed that the dancer lifted her feet, which made sense in the sandy desert where sliding motions with the feet would be impractical. During his visit to Mersa Matrouh, he also observed a fat woman walking normally and noticed that her hips too went up and down in this shimmy motion, without her consciously trying to dance.
Different people have reported different stories about the role of the female dancer. In the wedding celebration that Reda observed, the dancer was definitely not the bride, nor was she a young woman seeking to attract suitors. In Egypt, it was customary for marriages to be arranged. The dancer Reda witnessed was a professional entertainer, hired to provide entertainment for the occasion.
Bringing It to Stage
Theater audiences wouldn't have much patience for listening to an hour straight of simple clapping, nor would their attention be held for long by watching a dancer strut back and forth in front of a row of clapping men doing the same move continuously. Therefore, Reda made some modifications to the hagalla when using it in choreography.
This screen shot shows a scene from a Reda Troupe performance of the hagalla which appeared in the 1965 Egyptian movie Gharam fi al-Karnak (Love in Karnak). The woman dancing is Farida Fahmy.
One adaptation for stage involved adding music, rather than just the continuous clapping.
Another adaptation was addition of movement which was not traditional. Because the men in the village approached the dancer and tried to get her attention, it was plausible to place the men in the choreography in a circle around the dancer and choreograph moves for them to use in vying for her attention.
The original choreography Reda created that was based on this dance utilized 15 men and one woman. The men were arranged in three groups of five men each. Their efforts to draw the woman's attention were exaggerated for stage purposes. A later Reda choreography depicted the hagalla with the men doing flashy steps based on Russian folk dance moves in a circle around the women.
For the dancer, it was necessary to add all possible variations to the basic shimmy move - traveling forward, backward, sideways, in floor patterns, etc. It was necessary to use the imagination, but still to stay in character. Pirouettes, for example, wouldn't have been logical.
Costuming
The costumes Reda Troupe used for hagalla were influenced by the clothing of Libyan women. Just as the village dancer had a sort of peplum effect to her skirt around her hips, so did the woman in the troupe choreography. The women wore flat boots of soft leather.

Haggala (Shokry Mohamed)

Las Danzas Folklóricas en Egipto son todas marcadamente diferentes entre sí. Cada región tiene sus danzas, incluso hay regiones que tienen un tipo de canto propio, un dialecto y costumbres distintas de las demás regiones.Haggala es la danza típica de los Oasis del Desierto Occidental de Egipto y es común con la vecina Libia. La palabra Haggala viene de hagl, que significa salto. Hay otra palabra que probablemente se relaciona también con esta danza, hegel, que es una pulsera de plata que rodea la parte inferior del tobillo y que llevan las jóvenes egipcias del Alto Egipto.Todos sabemos de la costumbre en el mundo árabe de que el hombre elija a la mujer cuando quiere casarse, pero en los oasis de Siwa sucede exactamente al contrario, por extraño que parezca. El día de la boda se reúnen todos los jóvenes y hombres del pueblo a la intemperie, formando una larga fila. Todo comienza con el fuerte batir de palmas de los hombres, acompañado por los ritmos de los panderos. La novia sabe muy bien quién es su elegido, pero ningún joven sabe exactamente quién es el afortunado. La joven baila durante bastante tiempo con su cara tapada por un shall transparente desde donde puede ver a los hombres sin dejar que ellos la vean. Mientras el ritmo está en su plena fuerza, ella se va parando frente a uno de los jóvenes y le baila durante unos minutos, luego le deja y baila frente a otro, repitiéndolo con cada uno de ellos hasta llegar al final de la fila. Cuando esto sucede, se coloca frente al elegido y enlaza sus manos de una forma cruzada, bailando sólo para él, su futuro marido. Si éste tiene alguna joya o algún abalorio lo ofrece a su futura mujer. En este momento los demás hombres tocan las palmas de una forma continuada y los familiares de ambos se acercan, se saludan y se abrazan dándose la enhorabuena. La danza y los gritos continúan mientras los recién casados cruzan la fiesta para dirigirse juntos a su nuevo hogar

::. BELLYDANCE::. DANZA DEL BASTÓN - SAIDI DANCE

EL BASTÓN ( SHOKRY MOHAMED)

La Danza del Bastón tiene su origen en una lucha, según indican los grabados en las tumbas de los faraones. Esta lucha se encuentra presente en diferentes culturas, no sólo en la Oriental.A lo largo de la historia, el hombre ha buscado una forma de defensa ante los animales salvajes, encontrando, mucho antes de la aparición de la civilización egipcia, en el Bastón un arma de defensa.El Bastón continuó en el tiempo junto al hombre, formando parte de su vida. Hoy en día, los hombres del Sur de Egipto, van siempre acompañados de él, incluso se reconoce a las personas por su Bastón. Por ejemplo, si se entra en una casa, se puede saber quien está en ella por los bastones que se encuentran en la entrada, ya que se dejan allí al entrar como muestra de respeto.En el tiempo libre, en los días festivos y en las bodas, se forma un círculo muy grande, donde dos hombres comienzan la lucha (el Tahtib) dentro del mismo, girando uno hacia un lado y el otro en sentido contrario hasta que se juntan en el medio del círculo. La lucha del Bastón tiene su técnica y hay que tener un reflejo muy cabido para mover y pegar los bastones, incluso es necesario saber defenderse durante la lucha, de los golpes que pueden llegar de un lado u otro. El que vence continúa dentro del círculo hasta que se presenta un nuevo individuo para continuar la lucha y así hasta que participan todos los jóvenes presentes.La lucha continúa en el tiempo, a pesar de los cambios que ha sufrido la vida de la gente del Sur. Aunque ha tenido transformaciones, hoy la Danza del Bastón forma parte de los festejos, como por ejemplo, bailan manteniendo los bastones en alto, por delante del desfile de boda.Esta Danza es típicamente masculina pero hoy en día, buscando un punto más de igualdad entre ambos sexos, también suelen bailarla las mujeres. Cuando una mujer desarma a un hombre que lleva el Bastón durante una boda, significa que está compitiendo con el hombre y que si él es capaz de bailar con el Bastón, ella también.Esta Danza viene del Alto Egipto y la baila todo el mundo. Los niños pequeños ven bailar a los mayores y bailan igual que ellos, pero la lucha es sólo para los adultos.Los instrumentos folklóricos utilizados son el Seps, que es como una especie de Dulzaina gallega e incluso da el mismo sonido, y todos los instrumentos de percusión. Algunas veces lo acompaña el Rabel, como instrumento de cuerda.Los grupos de Ballet Nacional de Danza, lo tienen como una Danza fija en su repertorio. Las bailarinas de Danza Oriental lo incorporan dentro de su espectáculo. Hoy en día se practica este tipo de danza cada vez más y en el Alto Egipto siguen aprendiendo los pequeños esta Danza que pasa de generación en generación.

Saidi DanceBy Ashraf Hassan

The Saidi dance is from Upper Egypt, between Gizeh and Edfu.The Saidi people are upper Egyptian farmers. Usually a Saidi dance is lively, energetic and earthy. The dancer uses one or two sticks, originally made of bamboo.There are two types of Saidi stick dance: Raks Assaya and Tahtib. The word Tahtib means dancing with sticks and it is originally a kind of conflict with sticks between men to show their power. Tahtib is the oldest form of Egyptian martial arts to have survived. Tahtib dancing is a product of Egyptian martial arts from the pharaonic times. The Pharaohs painted this kind of dance on the walls of their temples and their soldiers learned it.Tahtib was considered, at that time, to be weapon training. The ancient Egyptians performed stick fencing or stick fighting as a tribute to the pharaoh. This type of fencing was probably based on an actual fighting system used in combat with a shield and a sword - as with the wooden bukko in Kendo which then evolved into a system with its own rules and methods.The fighting stick appears to have been used as a battlefield weapon. There were advantages of teaching stick fighting, along with other combat sports such as a wrestling, the main advantage being that the Egyptian army could be kept trained and ready for war.In many respects, it resembles the sport of single stick. Like other martial arts of the world which are tied culturally to dance and music traditions, such as Brazilian Capoiera and Indonesian Silat. Tahtib is a special art form in that it combines both real combat aspects, and aesthetic aspects, and the concept of The Game or Play.There are five distinct areas of study in Tahtib, and a recognized expert in one may not necessarily know much about another. The modern style of highly choreographed Tahtib dance seen in stage performances in the Middle East is far removed from the wild nature of play seen at festivals and other social gatherings, where real blows get mixed in with the game of fakes and counters.Ancient Egyptian hieroglyphics indicate that Tahtib along with Sebekkah were the primary fighting styles taught to the Egyptian military. Royal families were trained in an advanced style of these arts at a very young age to deter assasination attempts. Much of what was known of Sebekkah and Tahtib have been lost, but there are still a few authentic practitioners believed to inhabit Egypt.There is NO historical evidence to prove how Tahtib was created. However, there is historical evidence referencing the Pharaoh Menes (c305-285BCE), who unified Egypt and his desire to have the world's greatest army.Supposedly, he invited the greatest warriors throughout all of Africa, India, and several other locations in the Middle-East to train his armies. This was probably the catalyst for the first Olympic Games. Elements of Tahtib can found in the more well known martial arts of the world; namely Eskrima (Filipino Stick Fighting), White Eyebrow Kung Fu (Bak Mei), Pencak Silat, Krav Maga, Muay Thai, Hwa Rang Do, Ninjitsu, and various Capoiera styles.Tahtib has changed over years to be just a kind of dance with Stick. Stick dance belongs to folk dances. The stick is regarded as a symbol of masculinity, i.e. a phallus. Although the dance form originally started as male-only, there are women who perform dressed as men and dance with other women.Another female version of stick dancing has been developed with a flirtatious and generally less aggressive style, and incorporated into cabaret or "belly dance." The stick used for this type of dancing is generally thinner, more lightweight and hooked at one end like a cane, and generally embellished with metallic-coloured foil or sequins.Stick fighting has been used to settle disputes between members of rival families, mostly in the Egyptian countryside. The men's stick dances are very dramatic and manly dances - not to be confused with the coquetry of the women's dance. Tahtib is a favorite dance at any festive occasion, such as weddings, welcoming parties, and harvest festivals. It is also practiced by the men as a pastime and used as a means of self-defense.The stick itself is about four feet in length and is called an Asa, Asaya or Assaya, or Nabboot. It is often flailed in large figure-8 patterns across the body with such speed and violence that the displacement of air is loudly discernible.There is another form practiced from horseback known as "Horse Stepping" which uses a stick that is nearly 12 feet long. Raks Assaya is performed by men and/or women and shows off a more acrobatic version of handling the stick. The women's version of the stick dance is, of course, much more feminine and graceful, and can only lightly imitate the Tahtib.One story claims these women's dances are a parody of the men's stick dances. They make the movements cute and flirty and omit the fighting. The women flaunt effortless control of their much smaller stick or crooked cane. They use it unabashedly as a frame for the body movements. Some of the women's movements echo the 'tahtib' and sometimes the men imitate the woman's style.Stick dance can be danced in a duet or in a group from men and women. The traditional men's costume consists of long pants, two galabeyas with wide sleeves and a round neckline, and a long scarf wound around the head. The women wear a Beledi dress with a belt or scarf around the hips and a veil on the head.The music used in Tahtib features the tahvol (bass drum) and a shrill pipe. The tahvol is a double-sided drum worn with a shoulder strap so it hangs sideways in front of the drummer and is played with two sticks. The right hand uses a heavier stick with a hooked head to beat out the "dooms" which drive the heartbeat of the rhythm, while the left hand uses a light twig as a switch to produce rapid-fire staccato "kahs". (Doom = the deep sound from striking the center of the drum with the right hand or with a knobbed stick; Kah = the higher sound from striking the edge of the drum with the left hand or with a light switch.

Abdel Halim Hafez

Ahwak. I love you. We atmana law ansak, And I wish if I ever forget you, Ansa rohy wayak. I forget my soul with you. Wen daiet teba fadak And if it becomes lost, it's OK, Law tensany. If you've forgotten me. We ansak, So I forget you, watareeny bansa gafak. And I forget all you pain. Wa ashtak le azaby maak. And I start longing for it again. We alaky demooi fakrak, And I find my tears remember you. Warga tany. So I return to you. Fe loak, At times, El donia tegeny maak. The whole world comes with you. We redaha teba redak. And its wish is your wish. We sa-et-ha ye hoon fe hawak. And then, maybe you will end, Tool hermany. Depriving my love of you. Part 2 Ahwak. I love you. We atmana law ansak, And I wish if I ever forget you, Ansa rohy wayak. I forget my soul with you. Wen daiet teba fadak And if it becomes lost, it's OK, Law tensany. If you've forgotten me. We ansak, So I forget you, watareeny bansa gafak. And I forget all you pain. Wa ashtak le azaby maak. And I start longing for it again. We alaky demooi fakrak, And I find my tears remember you. Warga tany. So I return to you. Fe loak, At times, El donia tegeny maak. The whole world comes with you. We redaha teba redak. And its wish is your wish. We sa-et-ha ye hoon fe hawak. And then, maybe you will end, Tool hermany. Depriving my love of you. Part 3 We la-eek, I dream of finding you Mashghool we shaghelny beek. Thinking of me, and I of you. We einaya teegy fe eneik, And my eyes meeting yours. We kalamhom yeba aleik, And the words written on your face, Wenta dary. While you try to hide them. We raeek, And I'd nourish you, Was-ha men el leil anadeek. Wake up from my sleep to call you. We abaat rohy tesaheek. And send my soul to wake you. Om yally shaghelny beek, So you who has stirred my soul, Garab nary. Try out my fire. We la-eek, I dream of finding you Mashghool we shaghelny beek. Thinking of me, and I of you. We einaya teegy fe eneik, And my eyes meeting yours. We kalamhom yeba aleik, And the words written on your face, Wenta dary. While you try to hide them. We raeek, And I'd nourish you, Was-ha men el leil anadeek. Wake up from my sleep to call you. We abaat rohy tesaheek. And send my soul to wake you. Om yally shaghelny beek, So you who has stirred my soul, Garab nary. Try out my fire. We la-eek, I dream of finding you Mashghool we shaghelny beek. Thinking of me, and I of you. We einaya teegy fe eneik, And my eyes meeting yours. We kalamhom yeba aleik, And the words written on your face, Wenta dary. While you try to hide them. We raeek, And I'd nourish you, Was-ha men el leil anadeek. Wake up from my sleep to call you. We abaat rohy tesaheek. And send my soul to wake you. Om yally shaghelny beek, So you who has stirred my soul, Garab nary. Try out my fire. We la-eek, I dream of finding you Mashghool we shaghelny beek. Thinking of me, and I of you. We einaya teegy fe eneik, And my eyes meeting yours. We kalamhom yeba aleik, And the words written on your face, Wenta dary. While you try to hide them. We raeek, And I'd nourish you, Was-ha men el leil anadeek. Wake up from my sleep to call you. We abaat rohy tesaheek. And send my soul to wake you. Om yally shaghelny beek, So you who has stirred my soul, Garab nary. Try out my fire. We la-eek, I dream of finding you Mashghool we shaghelny beek. Thinking of me, and I of you. We einaya teegy fe eneik, And my eyes meeting yours. We kalamhom yeba aleik, And the words written on your face, Wenta dary. While you try to hide them. We raeek, And I'd nourish you, Was-ha men el leil anadeek. Wake up from my sleep to call you. We abaat rohy tesaheek. And send my soul to wake you. Om yally shaghelny beek, So you who has stirred my soul, Garab nary. Try out my fire. We la-eek, I dream of finding you Mashghool we shaghelny beek. Thinking of me, and I of you. We einaya teegy fe eneik, And my eyes meeting yours. We kalamhom yeba aleik, And the words written on your face, Wenta dary. While you try to hide them. We raeek, And I'd nourish you, Was-ha men el leil anadeek. Wake up from my sleep to call you. We abaat rohy tesaheek. And send my soul to wake you. Om yally shaghelny beek, So you who has stirred my soul, Garab nary. Try out my fire. Part 4 Ala-eek, I dream of finding you Mashghool we shaghelny beek. Thinking of me, and I of you. Ala-eek, I dream of finding you Mashghool we shaghelny beek. Thinking of me, and I of you. Ala-eek, I dream of finding you Mashghool we Thinking of me, and Shaghelny, shaghelny, I of you, I of you, Shaghelny beek. I of you. We einaya, And my eyes, Einaya teegy fe eneik, My eyes meeting yours. We einaya teegy, And my eyes meeting, Teegy fe eneik, Meeting yours. We kalamhom yeba aleik, aleik. And the words written on your face, We kalamhom yeba aleik, aleik. And the words written on your face, Wenta, enta, enta dary. And you, you, you try to hide them. Ala-eek, I dream of finding you Mashghool we shaghelny beek. Thinking of me, and I of you. We einaya teegy fe eneik, And my eyes meeting yours. We kalamhom yeba aleik, And the words written on your face, Kalamhom yeba aleik, aleik. And the words written on your face, Wenta, wenta dary. While you, you try to hide them. Ala-eek, I dream of finding you Mashghool we shaghelny, Thinking of me, and I of you. We shaghelny, shaghelny beek. And I of you, and I of you. We einaya teegy, And my eyes meeting. Fe eneik teegy, Meeting your wyes. Fe eneik, Your eyes. We kalamhom, And the words, Kalamhom yeba aleik, aleik, aleik, The words written on your face, Wenta, enta, enta te dary. While you, you try to hide them. Part 5 We la-eek, I dream of finding you Mashghool we shaghelny beek. Thinking of me, and I of you. We einaya teegy fe eneik, And my eyes meeting yours. We kalamhom yeba aleik, And the words written on your face, Wenta dary. While you try to hide them. We raeek, And I'd nourish you, Was-ha men el leil anadeek. Wake up from my sleep to call you. We abaat rohy tesaheek. And send my soul to wake you. Om yally shaghelny beek, So you who has stirred my soul, Garab nary. Try out my fire. We la-eek, I dream of finding you Mashghool we shaghelny beek. Thinking of me, and I of you. We einaya teegy fe eneik, And my eyes meeting yours. We kalamhom yeba aleik, And the words written on your face, Wenta dary. While you try to hide them. We raeek, And I'd nourish you, Was-ha men el leil anadeek. Wake up from my sleep to call you. We abaat rohy tesaheek. And send my soul to wake you. Om yally shaghelny beek, So you who has stirred my soul, Garab nary. Try out my fire. We ahwak. I love you. We atmana law ansak, And I wish if I ever forget you, Ansa rohy wayak. I forget my soul with you. Wen daiet teba fadak And if it becomes lost, it's OK, Law tensany. If you've forgotten me. We ansak, So I forget you, watareeny bansa gafak. And I forget all you pain. Wa ashtak le azaby maak. And I start longing for it again. We alaky demooi fakrak, And I find my tears remember you. Warga tany. So I return to you. Fe loak, At times, El donia tegeny maak. The whole world comes with you. We redaha teba redak. And its wish is your wish. We sa-et-ha ye hoon fe hawak. And then, maybe you will end, Tool hermany. Depriving my love of you.

Amarain Danzas Árabes

III Muestra Anual de Alumnas

de la Escuela de danzas Árabes "Amarain"

ESENCIA ÁRABE