Dabka Description
is an Arab folk
dance native to the Levant. It is popular in Jordan, Lebanon, Palestinian
Authority, Turkey, Syria and Iraq. A line dance, it is widely performed at weddings and joyous occasions.
The line forms from
right to left. The leader of the dabke heads the line,
alternating between facing the audience and the other dancers.
Dabka in Arabic is
literally " stamping of the feet."[1] The leader, called raas ("head")
or lawweeh (also spelled "lawih") which means to
wave, is allowed to improvise on the type of dabke. The leader
twirls a handkerchief or string of beads known as a masbha (similar to a rosary),
while the rest of the dancers keep the rhythm.
Hands are joined together in a palm to palm clasp or by linking pinkies. Arms
are held straight down at the sides or can be slightly bent (if the hands are
clasped correctly). Shoulders are very close to one another. The physical
closeness creates an experience of cultural unity. The movements are
synchronized. Uniform movements are what make a debke successful. The dancers
also use vocalizations to show energy and keep up the beat. The dabke leader
is supposed to be like a tree, with one arm in the air, a proud and upright
trunk, and feet that stomp the ground in rhythm. At weddings, the singer begins
with a mawwal. The raas or lawweeh takes the lead.
Everyone does a basic 1-2-3 step before the song kicks in. At
weddings, the dance is sometimes performed by a professional troupe dressed in
costume. The most common debka consists of six steps: step, dip, step, dip,
kick and stomp.
Types Of Dabka
There are
six main types of dabke:
Al-Shamaliyya (الشمالية):
is probably the most famous type of dabke. It consists of a lawweeh (لويح) at
the head of a group of men holding hands and formed in a semicircle. The lawweeh is
expected to be particularly skilled in accuracy, ability to improvise, and
quickness (generally light on his feet). Typically, the dabke begins with a
musician playing a solo on the mijwiz or yarghoul of
a Dal Ouna piece, often with two singers accompanying his
music. The dancers develop a synchronized movement and step and when the
singers finish their song, the lawweeh breaks from the
semicircle to dance on his own. When the leader of the dabke sees that the
men's steps are one, in sync, he instructs the dancers to slow down and begin a
movement crossing their right foot in front of the opposite one (their left
foot). The lawweeh continues to inform the dancers of their
basic rhythms, and at this point other guests at the wedding or event occurring
will join in the dabke line. This is the most popular and familiar form of
dabke danced for happy family celebrations, such as weddings, circumcisions,
the return of travelers, release of prisoners, and also for national holidays,
in which dabke becomes a demonstration of national personality.
Al-Sha’rawiyya (الشعراوية):
is limited to men and is characterized by strong steps or stomps. The lawweeh is
the most important element in this type of dabke.
Al-Karaadiyya (الكرادية):
is characterized by a lack of a lawweeh and slow movement with
an azif (عازف) (flute player) in the middle of the
circle.
Al-Farah (الفره):
is one of the most active types of dabke and therefore requires a high degree
of physical fitness.
Al-Ghazal (الغزل):
is characterized by three strong stomps of the right foot, and is usually
tiring for those dancing.
Al-Sahja (السحجة):
is a popular Palestinian and Jordanian dance which became significantly more
popular during the British Mandate for Palestine. Al-Sahja belongs
mostly to northern and central Israel and the Palestinian Territories, and in
the south has two kinds: As-Samir (السامر) and
Al-Dahiyya (الدحية). As-Samir's form involves 2 rows of men on
opposite walls, competing with folk
Song
GenresThere are numerous kinds of songs that are sung during and
specifically for dabke, by both men and women respectively, depending on the
occasion, song, and audience. Some of the most popular of these songs, such
as Dal Ouna (دلعونا), Al Jafra (الجفرا), Al
Dahiyya (الدحية), and Zareef il-Tool (ظريف
الطول), are actually entire genres in themselves, in the sense that lyrics
can vary significantly in each performance but the basic rhythm of the music is
consistent and recognizable. This variation can be seen in the hundreds of
lyrical variations heard and recorded of these songs which regardless of
specific lyrics, are recognized by their rhythm and at times, a single phrase,
as in Ala Dal Ouna, Jafra, and others. For example, even though one
might have heard Ala Dal Ouna sung previously telling a
different story in this famous love song, people will still call another song
ascribing to the same rhythm and theme as Dal Ouna.
