Engaging in the Moroccan Dance
Traditional Moroccan Dance, Image Pxhere.com
The Arabian peninsula embraces a culture of people from parts of the Mediterranean including northern Africa, Algeria, Libya, and Morocco. Gold reflections of Moroccan dancing takes me to the image of belly dancing, a style of movement that takes on an erotic undertone. “Moroccan women who perform for male audiences typically come from socially marginal groups or communities where dance is considered an acceptable route out of poverty. Populated by dancers who arouse men’s desire with undulating bodies.” (Jonas, G. Dancing: The Pleasure, Power, and Art of Movement).
Shikhat is a name given to a Moroccan performer where a traditional style of dance is implemented at weddings and various celebrations. While the women dance to entertain a crowd, men are usually musicians, and often spectators. The Traditional Moroccan Dance is performed by a woman dressed in pants with a long, tunic dress overlaid. A scarf is worn around the hips. The style of clothing often worn in chiffon, caftan or harem pants. The dance includes the “pelvic undulations, hip shimmying, and fast, syncopated footwork,” that Jonas writes about and has made a huge impact on our western culture (Dancing: The Pleasure, Power, and Art of Movement. Pg.119). These provocative moves can be seen by young females and men, in both hip-hop and rap culture. A style of dancing that belongs behind closed doors or a private club due to the explicit sexual overtones.
In the video, the Traditional, Moroccan Dance opens with the song Duallahila Ar Tesninam, denoting the sound of the Sahara. The intro starts off with ululations, the high-shrieking sound used to symbolize a festive event. Choreographically, the dance starts on the floor, with slow, hand gestures in front of the audience. The movement shows the dancer demanding attention to enjoy her dance. The chanting continues as she takes her place to center stage. Still, winding her wrists and flickering both hands while slowly making a circular turn before she freezes. She appears to be calling in some type of spirit, stopping to place one hand over her eye. Slowly rolling down and upward, reaching her arms up, she begins a sequence of pats on her forehead with the right and left hand. Next, hip movement and a foot paddle starts at the rhythmic highlight in the music. Her entire body, gently spirals, while adding shoulders shimmies exhibiting control of the physique. Moderate hip thrusts, side to side swaying begin, as she quietly rises in quick, tiny bourree glides. There is a small bobblehead gesture in between the movement.
Nearing the finale, she stops at a break in the music, to open the drape of her outward wrap, and remove the headscarf. As the music picks up, the heel of the right foot-pounds up, and down against the beat. In a deliberate motion, she drops her upper body downward. This seems to be the introduction to calling on a spirit. The swinging motion of the left arm, up and down while embracing the even pace of the musical chords. As the momentum picks up so does the head swaying of her long hair. Slowly, the hips undulate forward and back, rolling around in a circular turn. She turns her body in one final circle. The movement continues as she begins rippling her arms and hands out smoothly. It appears that she is speaking to the crowd with her hands. While the music is escalating, her head starts rolling into full circle rolls. Her body seems to be in a trance state. As the music fades the dancer embraces the top of her head, ending by blowing a kiss to the audience.
Photo: pxhere, "https://c.pxhere.com/photos/fe/3b/body_woman_belly_figure_naked_body_art_feminine_tattoo-1266923.jpg!d" Fantasy Entertainment Productions. Traditional Moroccan Dance.YouTube. March 2, 2014. https://youtu.be/sJwHfnuIp4I.
Israel, V. Tinariwen “Dualahila ar Tesninam ” Music. YouTube. Jan 10, 2012. https://youtu.be/_f-UeSx5iaU
Jonas, G. 1935-. Dancing: The Pleasure, Power, and Art of Movement.New York: Harry N. Abrams in association with Thirteen/WNET, 1992. Pg. 118-119.
