 Turkish
Bellydance: Nasrah
By the Ensemble Huseyin Turkmenler
ARC Music Int. 2001, EUCD 1649
Review
by Najia El-Mouzayen
"Everything
old is new again!" That's how the song lyric goes and is so
true! I
have been requested to review the new release with dancer Nasrah
Nefer on the cover. I placed the CD in the player with trepidation
because I had been a "Turkish Style" dance performer
in a Greek Folkdance Taverna for the first five years of my dance
career and remember it with fondness. I wished not to ruin my
lovely memories of the music and the Turks I met in the Aitos
Taverna, Berkeley, California. I really did not want very
much to listen to nearly 60 minutes of excruciating fast, and shrill
Turkish tunes played on the clarinet and kanoon. What an absolutely
delightful surprise it was, then, to begin the first tune on the
recording:
1 Arabia
(anon.) - 4:07 (actually: 6:01)
Here
is a presentation for a dancer who is not faint of heart! It features
and extraordinary violin passages that move one's emotions with tremolo
and pizzicato effects and made me yearn for the "old days". The
title may indicate Arabian style dance music but, to me, it has the
distinct signature of Turkish musicians. I was transfixed! As Turkish
music is wont to do, the tune goes up tempo and ends at a fast pace,
yet with a gentle close.
It was at this
point that I noticed that the length of the recording seemed incorrect
on the printout and checked the duration of each selection and
found only one that was anywhere close to being correct. Consequently,
I caution you, if you are under specific time constraints, please
take care to check the accuracy of your choice of dance music. Do
not rely automatically on the enclosures. (I will include the
correct duration times in this review.)
2. Rast Oyun
Havasi (Surku Tunar) 6:57 (actually 5:31)
This piece, done in a Turkish Makam or scale called "Rast",
starts fast and remains fast throughout. It is an old fashioned
favorite for dance with typical Turkish instrumentation such as the
clarinet and kanoon (qanun) taxim (taqasim) accompanied by a chiftetelli
background. What is outstanding in this selection is the amazingly
lucid violin taxim! The selection also contains a very short drum
solo accompanied by the tambourine. It also has a little finale
and ends abruptly.
3. Bekar
Gezelim (Group Lacin) 5:27 (actually 4:34)
For
me, this was the least appealing instrumental on this recording on
several counts. It is another fast paced piece of music featuring
both violins and (I think I heard) the cello. Though the second
half of the track has an interesting rhythm change, it is disappointing
because rather than ending musically, the cut ends electronically
with a fadeout.
4.Calgici
Karisi Binnaz (Ciguli) 5:58 (actually 5:18)
A mellow
nay taxim begins the selection. It changes to a chipper little clarinet,
drum, and finger cymbal tune. A clear and intriguing kanoon taxim
with a 2/4 rhythm background (doum, teka, doum, tek) and voice accents
to add charm and cultural flavor. The selection speeds, then slows
again to a gentle completion.
5.Kalardo/Sallasana
Mendilini (anon.) 8:40 (actually 8:44)
A heart
wrenching violin taxim accompanied by a drone behind denoting an
impending change that turns out to be a slow percussive 9-count rhythm
which, I presume, is the tune about "waving your hanky"! This
entire track contains passionately sensual violins. It is unusual
in its wavering back and forth between themes "A" and "B",
with some strange scrambling about, underneath the main theme, by
some of the instruments. The piece ends only after ascending to
a rakish speed. This was my favorite cut on the recording.
6.Tekirdag
Karsilamasi (anon.) 6:05 (actually 4:37)
This
is a 9/8 Karsilamas rhythm. It is an old favorite tune suitable
for the Belly dance that I used to perform back in the '70s. It
is a bit whiny, as Turkish music sometimes is, with a spectacular
clarinet section followed by a deft Turkish touch on the oud and
kanoon licks like the sounds of "birds" so typical in much
Turkish music. It is replete with vocal encouragement and then slows
to the end.
7.Percussion
Improvisation/Konyali (anon.) 4:31 (actually 6:08)
There
is a drum solo beginning for about two and a half minutes then it
slides into an old favorite featuring spoons (or a spoon-like instrument)
in the percussion along with the violin in a 2/4 rhythm. There are
breathtaking runs on the violin! Unfortunately, the piece dies away
at its end.
8.Nikris
Oyoun Havasi/Ya Mustafa (anon.) 4:34 (actually 4:11)
The
clarinet plays the melody of a long-time favorite dance tune. It
also includes a short kanoon passage with a steady drum backup and
accents. There is also a strong oud taxim with finger cymbals and
drum. The medley slides effortlessly into a rather fast clipped
version of "Ya Mustafa" employing a high pitched clarinet
then a contrasting, mellow oud taxim which picks up the tempo then
slows again to the end.
9.Karacabey
Ciftetellisi (Senol Kurt)/Nigde Baglari (anon.) 5:15 (actually
7:00)
In
a modern twist, a keyboard taxim starts this selection. It is done
in a typical, fast Turkish style chiftetelli rhythm that omits the
silent rest on count eight that we dancers first came to know and
love in beginners' class. There is the clarinet taxim, and a violin
shines along with the cello. The medley changes to a fast-paced
and busy 2/4 rhythm, still featuring the drum and violin. Oh! another
electronic fadeout ending… These are so disappointing to dancers!
10.Mastika
(anon.) 4:35 (actually 4:36; very close!)
The
closing tunes of most Turkish dance performances are usually set
in a fast 9/8 rhythm. This one includes the entire instrumental
array with added vocal encouragement for the band members. Mastika,
speeds along and then slows at the very end.
I was very impressed
with this recording. It carried me back to the passions of my
early career and the joy that I found in dancing to this type of
music. My early employers were Greek-Americans, proud of their
heritage, and they were equally proud to include me and my "Eastern
dance" in their evening performance lineup even though they
wanted me to understand that the Turks were not loved in Greece.
Therefore, Turkish Belly dance was not highly esteemed either. They
wanted me to understand that the Turks invaded and occupied Greece
so that the cultures touched and exchanged dance as part of the
encounter. It was a happy learning experience for me.
Ready
for more?
more from
Najia-
Taming
the Wild Frilly-Lou Bird, Or Training Your Hands to Dance
Once the dancer learns the skill of audience
dialogue through energy transfer...
another
review-
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Row
Much-hyped instructor and Raks Sharqi dancer fails to find heart of the material
in program of Lebanese and Egyptian songs .
RECREATING
RITUAL Enhancing our daily lives with drumming and dancing, by
Tahya
The rhythmic
patterns and dance movements of this tradition, steeped in antiquity,
steeped in women's ancestry, rekindle a natural and sacred state of
well being. |
