The Palestinian Dance
The Palestinian dance, also known as “Dabkeh”, is one of the most well-known dances in the worldwide. The Dabkeh is performed in many countries like Palestine, Lebanon and Jordan. Each country has different Dabkeh movements than the other. Also, there are different Dabkeh songs depending on the culture and the traditions of the country. As for the Palestinian Dabkeh, it is considered the most famous dance in the Arab region and the Middle-East. It is performed in weddings, joyous occasions and cultural events. It is classified under the line dances because the dancers stand up in one line while performing. However, in some parts the dancers break the line by changing their places.
The Dabkeh was formed in the Levant, the region that include Palestine, Lebanon, Jordan and Syria, where the houses were built from stone and wood. It unites people from different families and strengthens the bond of brotherhood between them. Dabkeh is based on harmonized foot stomping. The dancers can stand either in a straight line, in an arch, or in a circle. When they stand in a straight line or in an acrh, dancers can hold hands or shoulders to create harmony and synchronization. Whereas when they form a circle, they hold shoulders so that the circle shape is maintained. Male or female dancers perform Dabkeh as a part of the traditions. It can be danced separately or integrated depending on the number of dancers and the occasion. Dabkeh was performed in occasions and events especially popular at weddings and is performed by a group of no less than ten people called dabke dancers “dabeeka”. They are accompanied by a flute player and oriental drum where the dancers listen to the tempo and perform according to the rhythm. Aft...
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... perform a dance that was formed from scratch.
References
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Bangarra Dance Theatre’s phenomenon entitled Mathinna entails the awe-inspiring, yet historically enlightening journey of an Aboriginal girl who was taken from her home and forced to conform to the westernised norms of the 1800’s. In an era plagued by racism and prejudice, Mathinna emanates the themes of colonialism, and cultural intolerance. Following the viewing of this scintillating production it is undeniably clear that the architect of Mathinna, Stephen Page, has deliberately intended to shed light on the immoral practice of forcibly removing Indigenous children as well as address the issue of social and cultural erosion to emotionally move those of modern audiences. This essay serves to further elaborate on the cultural undertones of
The concept that belly dance is a constantly evolving dance might surprise most people, as the static Orientalist image of the belly dancer is the one that pervades American popular culture. I and other scholars attempt to remove belly dance from the ridged framework of Orientalism and the harem fantasy. By the following how belly dance arrived in America, and how images of belly dancers and harems became part of the visual culture of the West I have attempted to demonstrate that there are aspects of power and a different reading of images of belly dance is possible. Through continued scholarly inquiry and research I look forward to the emergence of a new image of belly dance, one that represents the power and beauty of this dance, an image that is respectful of the many cultures that it represents.
Every dance that is created by a choreographer has a meaning and or purpose behind it. The dance choreographed could be used to send a political, emotional, or a social message. Regardless of the message being sent, each dance created possesses a unique cultural and human significance. This essay will examine and analyze two dance works from history and give an insight into what each dance work provided to the society of its time.
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In the display of Gullah song lyrics, Turner notes that the words were accompanied by handclapping, drumming, and dancing (256). While in Ghana I visited Nana Abass’ shrine of African traditional worship, where I was able to engage in spiritual service. The key component of the service was the dancing, singing, handclapping, and drumming. These methods were used to call in the presence of the spirits. Thus, one can assume that the combination of such elements in Gullah song is a spiritual
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This dance they get into nature by way of rhythm and it can make your body
Nisan, Mordechai. "The Druze In Israel: Questions Of Identity, Citizenship, And Patriotism." Middle East Journal 64.4 (2010): 575-596. Academic Search Premier. Web. 06 Nov. 2013.
Jonas, Gerald. Dancing: The Pleasure, Power, and Art of Movement. New York: Abrams, 1992. Print.
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Murphy, Maureen Clare. Rev. of Peace, Propaganda, and the Promised Land, dir. Bathsheba Ratzkoff & Sut Jhally. The Electronic Intifada 26 March 2004.
Gerner, Deborah J., and Philip A. Schrodt. "Middle Eastern Politics." Understanding the Contemporary Middle East. 3rd ed. Boulder, Colo.: Lynne Rienner Publishers, 2008. 85 -136. Print.
Gerner, Deborah J., and Philip A. Schrodt. "Middle Eastern Politics." Understanding the contemporary Middle East. 3rd ed. Boulder, Colo.: Lynne Rienner Publishers, 2008. 85 -136. Print.
The article Regime-Made Disaster: On the Possibility of Nongovernmental Viewing collected from the book Sensible Politics: The Visual Culture of Nongovernmental Activism, New York, NY: Zone Books, 2012. The author Ariella Azoulay who is an art curator, filmmaker, and theorist of photography and visual culture, currently she is working as an assistant professor at Brown University. However, her study discloses a detail view how the Israeli regime turns the photography of their invasion on Palestinians to benevolent photographs of Palestinian refugees.
...unication and visits , and the habits of the population Damascus, for example , where they go for a walk or to the Tor and called Gota ( Alserran ) . We see in Syria dance dabke famous , a dance collective hooking the hands of dancers and her rhythms dysfunctional suffices type and by region , there Dabke tenderness and Dabke the Syrian coast , the same Dabke in Mount Lebanon and Dabke Druze Mountain and the Euphrates and shield ... and the basis of this dance goes back to prehistoric times where it was on what is believed to have been dancing in the harvests and Agriculture for fun and relaxation in a bear zeal peasants. In conclusion, each state customs and traditions that got them since ancient times, which is still Thtfd out, both countries also differ and are similar in many of the things that where both Arab and Muslim, and differ in their culture a little.