Roots and Rhythm
To become a bellydance artist, you must understand the roots and rhythm that inspire the movement. Like an ancient tree, bellydance has many roots. The music hearkens to the elements of nature, making it universal, but it has more than one cultural root.
photo by HennadervishIf it wasn't for the countries of the Middle East and their preservation of musicality and sacred movement, Bellydance would be extinct today. During the time when some parts of the world were concentrating on "refinement" of culture, the Middle East was blossoming in art and dance, mystic poetry, and music. Musicality thus begins with a study of the roots and rhythms and the "signature" movements related to them. Layer rhythmic knowledge with a relationship to the instruments comprising the melody, and you have an excellent basis for understanding all kinds of music and compositions. With this musicality, you also become skilled at adapting the Art of Bellydance to all genres of music (classical and contemporary).
For a study of the basics, go to our "Sacred Shapes" page.
The Importance of the Core Rhythms
Rhythm is a Dancer
Knowing the rhythms allows us to communicate with musicians and to use our zills (or ankle bells and stomping) for accompaniment. In the process of study, the movement vocabulary is increased too. But most importantly, deepening your understanding of the roots and rhythms of bellydance makes your response to music innately natural.
"Signature" Movements
Each rhythmic pattern has "signature" movements associated with it. Signature movements are the combinations you most commonly see when a certain rhythm is played. They help you identify the pattern and tempo as you dance, acting like a centering movement (or anchor at sea), and a seed from which you can create other movements and combinations. Hip accents and phrasing all come easily when you know the rhythms.There are over 40 rhythms developed in the Middle Eastern countries, but (thankfully), we only need to know 12 inside out. There are a few others that come up in drum solos and longer compositions from time to time, so it is good to have some familiarity with these too. The rest are more abstract and esoteric and are played for meditation, contemplation and other specific purposes.
The Sounds of the Tabla Drum
(and Frame Drums - Riq and Def)
photo by HennadervishHere is the language that a Middle Eastern drummer uses to distinguish the different sounds that the drum makes. In developing your musicality, you may want to borrow or buy a tabla to practice the rhythms. You may never "go-pro", but playing music and dancing for eachother is a wonderful way to create a "Dancing Lifestyle". Doum - the deep, bass sound
-relates to element of water
-made by bouncing the dominant hand in the middle of the drum
Tek - higher pitched sound
-relates to the element of fire
-made by hitting near the rim of the drum head or the cymbals on a tamborine
tt = tektek - made by hitting the rim quickly two times
-often used for accenting and fast tempos Ka - similar in pitch to the Tek, but made with the opposite hand eS - a characteristice "empty" space
-relates to the element of air
-sometimes replaced with tt or T Sak - a strong, muffled "tak" sound
-relates to the element of earth
-made by "grabbing" sound into the palm with the fingertips
-replaces the T in rhythms Cha - the vibrational sound of the 'ringing' cymbals on the tamborine
-relates to the element of fire
-made by bracing the frame of the drum on the top four pads of the palm,and shaking the drum
The 12 Essential Rhythms of Bellydance
A note here, mainly to musicians. The 'counts' presented are not necessarily in line with the time signature of the rhythm. These patterns are written so that you can figure out how the rhythm sounds even if you can't read music.It is still worthwhile to invest in a couple of rhythm CDs such as Jalilah's "Raks Sharqi 4" and others so that you can "hear, feel, see and say" the rhythms as you learn, or hang out with any drummers you can find and get them to play for you! Musicality does not come from text book learning. The rhythms must become a part of you. Also, so you don't "bite off more than you can chew", and get overwhelmed, the top 5 list is marked (*) for you. This should give you some fast and some slow variations as a good basis. Maksoum 4/4
1 2 3 4 5 6 7 8
D T s T D K T s
*Beledi 4/4 (known by drummers as Masmoudi Sabir)
same structure as Masmoudi Kabir, but in half the time.1 2 3 4 5 6 7 8 D D s T D T T s *Masmoudi (Kabir)8/4
1 2 3 4 5 6 7 8
D D TK T D TK T TK
*Saiidi 4/4
1 2 3 4 5 6 7 8
D T s D D s T s
*Malfouf 2/4
1 2 3 4 5 6 7 8
D s s T s s T s
Ayoub 2/4
1 2 3 4
D s D T
Fellahi 2/4
same structure as Maksoum but sped up
1 2 3 4
D TkT D kT TkT
*Chiftitelli 8/4
1 2 3 4 5 6 7 8
Dk Tk TkT T TkD D T s
Karshlima 9/8
1 2 3 4 5 6 7 8 9
D Tk D Tk D Tk t t t
Saudi (Khaleegi) 2/4
1 2 3 4 5 6 7 8
D s T D s s T s
Bolero 6/8
1 2 3 4 5 6 7 8
D kTk D D D s D D
Rhumba 4/4
1 2 3 4 5 6 7 8
TDD s s TDD s s
Click here to go to see the "Signature Movements" that are invoked in every rhythm.
Oh Muse! Make me Dance!
Strings
Oud, Violin, Qanoon
Plucking at my Heart
Stretching and Trembling my Flesh
Rippling my Bones
Winds
Clarinet, Zurna, Voice
Beckons to my Hands and Spine
Wordless stories, Ancient Mystery
Breath, Life
Percussion
Tabla, Riq, Def, Zills, Hands
The heartbeat of Sound
Pulse of my Hips
Marking Beginnings
And the End
Weaving It All Together
If music be the colour of sound
And dance be the threads of motion
Together may they weave
A Tapestry of Magic
by Avena
A belly dancer knows the essence of the movements of this ancient dance form (referred to as 'seeds' at Bellydance for Life) as well and the roots and rhythms of the music. Using certain variables, a bellydancer can weave together a spontaneous and captivating response to the music and the audience.
Use your new knowledge of roots and rhythm. Dance through these magical 'Variables'!
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