​Baladi (بلدي, alternatively spelled beledi or balady) means "from the country, "of the country," or depending on the context, "my country," and while in Arabic it can refer to any country or anything from a given country,
when belly dancers talk about it, we are usually referring to the Egyptian folkloric music and social dance styles that evolved when people from Egypt's rural areas started migrating to the cities.

In the larger cities, the folkloric music that originally came from Egypt's rural areas and was played with traditional Middle Eastern instruments such as the ney or mizmar gained influence from the music of Western countries (Egypt was colonized by both the French and the British at different points in its history), and Western instruments such as the accordion, saxophone, keyboard, and others were adopted.

A common style of baladi music called baladi taqsim or baladi progression usually follows a loose pattern in which a melodic instrument such as an accordion, saxophone or ney ebbs and flows as the primary instrument, while the tabla (drum) keeps a steady rhythm in the background.

​The music goes through distinct sections: a solo by the primary melodic instrument without any rhythm, a call and response section between drums and melody, a section with slow melody and steady rhythm, and a section where the melody gets faster and is accompanied by faster drums, which eventually build up to a climax or a drum solo.

This structure, of course, is not always followed in this order and not all of these sections are found in every song. The structure varies from song to song. Baladi music is usually improvised, and therefore baladi dancing is usually improvised on top of improvised music!

Raqs baladi (baladi dance) is, essentially, the social form of raqs sharqi (Oriental dance, more commonly known as "belly dance"). When belly dance was adapted for the stage from the social dances of Egypt and other Middle Eastern countries, and as it has subsequently evolved, elements such as a wider use of space and spacial patterns, arm movements and frames with extended lines, and complex footwork and weight shifts were adopted in order to make it more interesting and visible from a distance, and more appealing to Western eyes and tastes. The two-piece costume that is commonly associated with belly dance was also adopted around that time. 

But at its root, belly dance comes from Middle Eastern dances that focus on the movement of the hips, such as baladi, which has a very heavy, earthy and grounded look and feeling. In a way, baladi is like the heart of belly dance... and for that reason, it holds a special place in most belly dancers' hearts <3

Belly dancers study baladi not only because raqs sharqi is so influenced by raqs baladi, but also because often, we perform baladi as part of our performances. It comes up often as sections within the music we use, or sometimes we perform to a whole baladi song by itself, or as part of our longer performance sets that include a variety of musical genres. 

When performing baladi on its own, dancers will usually wear a galabeya, the traditional garment worn in Egypt which looks like a long "dress" with long sleeves, like the one Fifi Abdo is wearing in the video above. Or sometimes a more form-fitting, colorful and sparkly galabeya will be worn instead. Or, if the dancer is performing baladi as a part of a full belly dance performance set with multiple songs, the dancer might be wearing the more standard two-piece costume instead. 

To truly do justice to our art form, we must understand our music, where it comes from, how to dance to different genres of Middle Eastern music, and how to dress appropriately.

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​Happy learning, and happy dancing!

The Rose of Algeria

​Although Warda (1939? - 2012) is now known as an icon of Egyptian music, she was actually not Egyptian at all. 

Throughout her life she lived in many countries: France, Lebanon, Algeria, and Egypt--where she married Baligh Hamdi and built her ultimate stardom. In Egypt, Warda performed with some of the most famous Arab musicians of her time, eventually becoming one herself, and she even acted in several movies.

Having been born in France to Lebanese and Algerian parents, Warda did not speak in the Egyptian dialect for much of her younger life, nor was she able to write in Arabic. It was thanks to her demanding mentor--the prominent Egyptian singer/composer Mohammed Abdel Wahab--that Warda learned to sing with an Egyptian accent and write in Arabic script!

Warda's singing "plays on a specific emotional range successfully combining strength and frailty: on the one side will-power, self-assertion, even challenge; on the other side sweetness and a tenderness implying some kind of vulnerability," as beautifully stated by Daniel Caux, a lecturer of Arabic music at the University of Vincennes. This is why so many are infatuated by her music.

She also bridged the linguistic and musical gaps between various Arab countries, making her a truly pan-Arabic icon of her time, which she remains to this date. She sang patriotic Algerian songs during the time of Algeria's fight for independence, she sang songs honoring Lebanon, Egypt and Palestine, and could even sing folk songs from the Arab Gulf. 

Nicknamed The Rose of Algeria, Warda was and still is admired and beloved all over the Arab world, where her voice brings joy to people every day through her classic, timeless songs. ​​

"Listen to Me" - The Meaning

When Warda sings Esmaouni, she is telling a story of heartbreak and failed love. You can hear in her voice the pain of having been rendered invisible and insignificant to someone with whom she had once shared a passionate, intimate past.

It was a love that had once felt so deep and real. They had meant the world to each other. But now it is as if he "never knew" her, "never met" her, "never saw" her, "never dealt" with her before. 

Repeatedly pleading "listen to me..." the singer is demanding (to her friends? her community?) to be heard. As she tells her side of the story, she is remembering it again herself; feeling again the emotions she had felt during their romance. The passion, the love, the intimacy... and then the anger and the pain from being rejected in such a dramatic, final and public way.

Well, at least that's my interpretation of it! You can judge it for yourself, by listening to the translation below. 

Esmaouni, Translated

So now you get a treat for making it to the end of this post. Watch this video to get an almost word-for-word translation of Esmaouni from Arabic to English. 

The version used here is a more modern rendition of Esmaouni, by the amazing Egyptian singer Safaa Farid. 

This video includes the original words in Arabic script, for those of you who can read Arabic--as well as the transliteration into our alphabet, for those who can't--this way we can all sing along!

As you're listening to this version, keep in mind that Arabic songs are usually sung using male pronouns, even if the person being sung about is female. This will be the case with this version.

Also keep in mind that certain words being used in the lyrics should not be interpreted literally, but instead as euphemisms for feelings or actions that are passionate or intimate. Arabic is a very expressive language with many layers of meaning that are dependent on context.

Even if you haven't been belly dancing very long, you might have already come across Leylet Hob before. And if you've been doing this for a while, you've definitely danced to it countless times by now!

But how much do you really know about this timeless classic and belly dance favorite? If your answer is "actually, not much" you've got to keep reading this post because it's packed with information about this absolutely must-know composition. 


About Leylet Hob 

Leylet Hob (ليلة حب, alternatively spelled Laylet Hob, Laylet Hobb, Lailet Hob, Laylet Houb, Lelat Hob, or Leilet Hob) is a classic Arabic song that was composed in the 1960's by Mohamed Abdel Wahab, written in 1973 by Ahmed Shafiq Kamel and subsequently sung by Om Kalthoum. Its title means "Night of Love." 

The original song, like many of the Arabic orchestral classics, was an entire concert on its own, at over 50 minutes in length. Today there are countless modern renditions of it by Arab and non-Arab musicians alike, usually around 5 to 15 minutes long, with or without vocals. 


Singer, Lyricist & Composer

Om Kalthoum (1904? - 1975) was a legendary Egyptian singer who was--and is to this date--renowned across the Arab world. Her face, name and voice are recognized and loved throughout the region, where she is likely the most famous singer of all time. Such a revered figured she was, her funeral was one of the largest gatherings in the world, attended by around 4 million people. Many of the most famous Arabic songs (and most popular belly dance songs) were originally sung by her. 

Mohammed Abdel Wahab (1902? - 1991) was one of the most prominent composers and singers in Egyptian history. He was responsible for composing many of the classic masterpieces that us belly dancers perform to on a regular basis. He introduced Western instruments such as the guitar, bass, accordion, organ and synthesizer to some of his compositions, innovating upon existing traditions and influencing all Arabic music thereafter. 

Ahmed Shafiq Kamel was an Egyptian poet who became known as the "Poet of the Two Pyramids" for unifying the two great talents--Om Kalthoum and Mohamed Abdel Wahab-- in his work on Leylet Hob, which became the first of many collaborations between the two.


The Full Rendition

You can listen to the full, 59-minute rendition of Leylet Hob sung by Om Kalthoum here: 

Can you spot the guitar, accordion, and synthesizer in this composition?


The Lyrics

​Leylet Hob is a song of love and longing. You can hear in Om Kalthoum's voice the longing that is felt for an absent lover. It speaks of yearning for that lover's return, where the singer imagines their night together while describing their love in the deep, poetic terms the Arabic language is so well-suited to relate. You can read a full, line-by-line translation of Laylet Hob by clicking here. 


Interpretation

​One of the most famous interpretations of Leylet Hob is this one by Soheir Zaki, one of the most famous belly dancers of the 1960's-80's: ​

Soheir Zaki is a classic, timeless dancer. You can read more about her in our Timeline of Egypt's Biggest Stars post. 


Musical Breakdown

​​Laylet Hob is played in the Maqam Nahawand, a type of melody that is perfectly suited to evoke the feelings of love and passionate yearning that this song speaks about.

​Some of the rhythms encountered are malfuf, maqsum, baladi (masmoudi saghir), masmoudi kebir, and 6/8. Let's break down* each rhythm by section, using the shorter 8-minute version of Leylet Hob in the Soheir Zaki video above as our reference:


​Baladi/masmoudi saghir (0:11-1:09, 1:27-1:52, 6:37-6:57,  7:19-7:40)
4/4 Rhythm
|DD|  T|D  |T  | 

​Malfuf (1:10-1:20, 6:57-7:19, 7:40-8:34)
2/4 Rhythm
|D  T|   T | 

​6/8 (1:53-2:24)
6/8 Rhythm
|D |  |  |T |  |  | 

​Maqsum (2:25-4:01)
4/4 Rhythm
|DT|  T|D  |T  |

​Masmoudi (4:02-4:15, 5:51-6:01?)
8/4 Rhythm
|D|D|  |  |D|  |  |  |

​​Maqsum (4:15-5:51) 
4/4 Rhythm
|DT|  T|D  |T  | 

​Taqsim (6:01-6:37)
Guitar solo - no rhythm


Is Leylet Hob one of your favorite classics and go-to songs, like it is mine? If so, I hope this post has been helpful to you.

I encourage you to listen to the hour-long version for study and for enjoyment, and that you hear as many versions of this beautiful composition as you can get your hands on.

What's your favorite version of this song? Which dancer have you seen do the best interpretation of it? Let me know in the comments below... And if you've found this post informative, don't forget to spread the knowledge by sharing it with your belly dance students, teachers, and peers. 

Happy learning, and happy dancing!
​

Sources: 
Leylet Hob 
​Leylet Hob/Mohammed Abdel Wahab 
Om Kalthoum 
Om Kalthoum's Funeral
Mohammed Abdel Wahab 
Ahmed Shafiq Kamel
Leylet Hob Translation
Maqam Nahawand
​Leylet Hob Rhythms
Rhythms 
Rhythms App

*Note regarding the rhythm breakdown: I am not musically trained, so I am breaking down this song by rhythm to the best of my knowledge and untrained ability. If you are a musician and have any corrections to make to this breakdown or anything to add, please contact me via email. 
​

While belly dance in its most basic forms may have existed for centuries, or possibly millennia, it was only over the last 100 years or so that it really began to take the shape we have come to recognize and refer to as "raqs sharqi"--or belly dance--today, thanks in large part to these incredible women who made history as belly dance stars in Egypt.

In this timeline of famous Egyptian belly dancers, you will learn a little bit about each woman and their influence on the dance as well as see them in action, thereby getting a glimpse into how this dance has changed and evolved over the years. So sit back, relax, and enjoy the show!

Eventually dubbed the "Marilyn Monroe of the Arab World," Tahiya Carioca began her belly dance career at Badia Masabni's Casino Opera where she rose to become one of its biggest stars. 

She was given the surname "Carioca" due to her fascination with Brazilian rhythms and dance, which she incorporated into her performances.

She began appearing in films in 1935, going on to become an important part of Egyptian movie history. The height of her fame occurred during the "Golden Age" of Egyptian cinema in the 1940's and 50's, and she continued to dance until 1963.

Naima Akef began her performing career as a child at her family's circus, where she performed as an acrobat.

After the circus disbanded, she eventually found work as a singer and belly dancer in Cairo's famous nightclubs, and in the 1940's she began singing, dancing and acting in movies as well.  

​
She was lost to cancer at the young age of 37, but not before having become a Golden Age star in her own right, forever making her mark in this dance form with her fast and energetic spins, dramatic arm and leg movements, and impressive displays of acrobatics. 

As a child, Fifi Abdo would watch the films of the likes of Tahiya Carioca, Naima Akef, etc, and copy their moves. She started performing belly dance at age 13 and thanks to her hard work, talent, and toughness, she rose to become a top belly dancer and actress in Egypt in the 1980's and 90's, and today she is one of the wealthiest women in the country!

​In her films, she usually portrays empowered female archetypes, and her work is often provocative and controversial for its boldness. 

​
​While Fifi is an amazing all-around belly dancer, she is best known for being the embodiment of baladi: the simple, earthy, grounded, country style of dance from which raqs sharqi originated. 

Mona Said began her belly dance career at age 13 after being encouraged to become a dancer by a nightclub owner and a big-name singer who had spotted her dancing at a disco.

She left Egypt in 1970 to perform in Lebanon for a few years, fleeing her father who was disapproving of her career choice. In Lebanon she found fame before returning to Cairo in 1975. She then went on to perform between Cairo and London for the next 5 years, and became one of the top belly dancers in Egypt through the 80's and 90's. 
​
Mona was nicknamed "The Princess of Raqs Sharqi" by Tahiya Carioca herself, and "The Bronze of the Nile" by Egypt's media.

Mona is best known for her feeling and emotion when dancing. She does not believe in counting music, but instead in focusing on the feeling and allowing it to take over in the moment. 

She is a perfect example of the "less is more" philosophy applied in belly dance, milking every beat and every note in the music, giving it no more and no less than what is called for, building up energy only when the music builds, all while expressing a variety of different emotions and personalities.

Dina began her dancing career in the 1970's training with Mahmoud Reda, co-founder of Reda Troupe, a group of Egyptian folkloric dancers that toured nationally and internationally.

​She began her solo career in the 80's, quickly rising to the top of the belly dance scene in Cairo and remaining there up to this date, in a difficult and evolving social and political landscape. 


​​Times have changed in Egypt, and the pendulum has been swinging further and further towards religious conservatism over the past few decades. ​In a 2008 article, Newsweek called Dina "The Last Egyptian Dancer," in reference to the growing conservatism in the country which is causing fewer and fewer native-born women to become professional dancers. This, coupled with Dina's provocative costumes and movements, have made her into a very controversial figure in her country and abroad.

But whether you love her or hate her, her influence in modern Egyptian style is undeniable. Dina herself is the clear dividing line between the vintage and classic styles that came before her and the modern styles that exist today. 

Her Reda-influenced steps marked the beginnings of new trends in belly dance which favor more complex footwork and weight shifts. Her exaggerated and dramatic facial expressions and gestures,  sharper hip and pelvic accents and slower and more provocative hip circles have been copied all over Egypt and the world. Her daring bras showcasing ample cleavage became the new normal in belly dance costume design (the "Dina bra"), and her occasional choice of a mini-skirt over traditional full-length skirts created new trends that are still being followed and developed upon all over the world today.

Newsweek may have dubbed Dina "The Last Egyptian Dancer,"  but she is far from it. We are certainly no longer in the heyday of belly dance in Egypt, but many new dancers have popped up since Dina, and they continue to set their own trends today. They won't be covered in this blog post, but may be covered in future posts so please stay tuned! 

I encourage you to keep reading and watching belly dance videos to find out more about this dance, its influential figures, its history around the world, and the myriad of different styles that fall under the belly dance umbrella!