Countdown to Under a Desert Moon

February 17, 2009 09:25 AM

STOMP! Soles of dance sneakers and heels of character shoes go pound into the floor at the Sahara Dance Downtown studio. It’s Tuesday evening and I’ve joined my stage mates from Raqs Caravan Folklore to practice Dabkeh, a traditional dance from the Levante Region of the Middle East. Slow and sultry undulations like the oomi, maya and figure eight will not be showcased in the Dabkeh choreography we are learning for Under a Desert Moon. Instead, we join hands to twist, hop, kick, and stomp our way through class and towards our debut at the Greenberg Theatre.

Dabkeh is for celebrations. It is a lively folk dance that is practiced at community events, parties, and especially at weddings. Dabkeh begins when participants hold hands to form a line or semi-circle, then step, jump, kick and stomp in unison. When a Dabkeh chain forms, anyone can join in, and it is a dance that women, men, children and elderly revelers can participate in together.

Dabkeh is guided by a leader, who stands at the front of the line and waves a handkerchief or string of prayer beads called masbha. There are fundamental steps that the leader can choose from, but he or she is allowed to stylize them with personal accents. Dabkeh’s origins are ancient, but because it’s acceptable to modify the steps, the dance is constantly evolving.

Elysa, who directs Raqs Caravan Folklore, says that what she enjoys most about Dabkeh is that “it’s rooted in society and because the movements can be stylized, it’s very creative. Anytime you join a Dabkeh line, there’s an opportunity to learn something new.”

As I tap my toes to the earthy rhythm of Debki Cocktail by George Chamoun, it’s hard not to keep a grin on my face. The music itself is uplifting and being able to hop and stomp playfully with the friends I’ve made in RCF brings out the inner child in me. What I really love about Dabkeh is how the dance emphasizes the importance of being connected to family and community, and this message is reflected by Dabkeh dancers holding hands with one another. However, this is also what makes Dabkeh challenging. Each time that our class runs through the choreography, I secretly grow fearful that I might lean too far forward during one of the steps and topple the whole line over. Or, I might get too enthusiastic when it’s time for the stomping and land on a stage mate’s foot. I know that these worries will only be remedied by giving myself plenty of time to practice outside of class. Like the other traditional dances I’ve studied in Elysa’s Arabic Folklore classes, my favorite part about studying Dabkeh is that it offers a glimpse into the history and cultures of the communities that practice it.

“Folkloric dance comes from the everyday people and everyday life.” Elysa says. “It’s also welcoming to students who are looking for a home in one of the companies because it’s very accessible.”

-Lauren

Permalink →