Basic Egyptian Family

/ Danse Orientale / By

 


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Introduction to the Basic Egyptian Family

The Basic Egyptian family of belly dance moves is based on the Salimpours’ research and observations of the great Egyptian film stars and famous belly dancers from the 1930s through the 1970s, and also the professional dancers whom Jamila worked with in person.  Tahia Carioca, Samia Gamal, and Naima Akef are considered the great film stars of the Egyptian cinema Golden Era in the 1930s-50s.  

 

Jamila studied these dancers meticulously in addition to many others, including two of her favorites, Nabaweya Mustafa and Zeinut Olwi. The 1950s-70s featured the next generation of great dancers including Sohair Zaki and Nagwa Fouad.  In the 1970s, Nadia Gamal was a particular influence on Suhaila.

 

Clubs and Cinema

The performing dance we know today has its roots in Egypt in the 1920s when Badia Masabni opened her first club.  Tahia Carioca, Samia Gamal, and Naima Akef all become featured belly dancers in one of Badia’s clubs before progressing to the cinema.  

 

The great Egyptian cinema stars were limited in their dancing for movies, often dancing  without music as music would be added during the editing process.  They typically kept their movements flowing and simple without many locks or breaks.  So while those cinema dancers were not always able to dance fully to the music, we can observe them riffing on the Basic Egyptian family steps with moments from the other step families.

 

Basic Egyptian Step Family Naming

Jamila was very specific when naming this step family as “Basic Egyptian”.  “Egyptian” specifically describes the origins of Jamila’s research and gives appropriate context to the student.  While not all of the dancers were Egyptian, these were steps used by the professional dancers in the Egyptian cinema and Egyptian nightclubs. 

 

Along with the Shimmy Family, the Basic Egyptian Family steps are considered professional, being steps researched from professional dancers.

 

Jamila used “Basic Egyptian” for the family name to reflect the theme step (literally called “Basic Egyptian”) to which the majority of the other steps in this family are directly connected.

 

Twists

Twists are the common element for the Basic Egyptian family, with only a few exceptions.   For the earthy stylization characteristic to this step family, stay in Home Position with a solid demi plié.  The majority of the Basic Egyptian Family steps are based on the Basic Egyptian step, representing variations of the footwork and/or hip twist. 

 

Note that Jamila initially used the term “pivot” for what we now call a twist, but she adopted the new term “twist” as a more accurate description of the hip movement based on what Suhaila brought into the Salimpour Vocabulary in 1970s.

Basic Egyptian

Jamila described Basic Egyptian as the comma, meaning “breath” or “bridge”, used by professional dancers between their steps and to connect phrases.  The majority of the steps in the Basic Egyptian family are directly connected to the Basic Egyptian step.  She observed this step from the professional Egyptian cinema dancers as well as other Egyptian dancers with whom she worked including Meya Medwar, Zenouba, and Siham, all professional dancers at The Fez nightclub in Los Angeles in its first few years.

Definition

Step-touch (flat-ball) halftime downbeat right (or left) with alternating twists quartertime coordinated to the same-sided touch.  Arms in 5th position; see Notes for a traditional Jamila arm stylization.

 

Notes
  • When the halftime foot pattern is downbeat right (on odd counts), the twists are downbeat left (on even counts).   
  • Maintain precise footwork, working through and within jazz 3rd position. 

  • Between each twist, release the hips to neutral.  The hip motion is a twist forward to 12:00cf and back to neutral (Home) without a reverberation in the hips.  

  • The touch and twist happen at the same time.  Although the 
touch appears to generate the twist, the two movements are 
independent of each other. 

  • This step is often performed with a dramatic twist. For 
knee stability, subtly release of the heel of the back (standing) foot allowing the lower body to rotate on an angle to give the appearance of a bigger twist. Keep the upper body and knees facing forward without grinding or twisting through the feet or knees. 

  • Traditional Jamila arm stylizations emphasize the effect of the hip twist forward by extending the same arm (example, right hip and arm). 

  • A slight plié can be added on the standing leg when the opposite hip twists forward. 

  • In step variations, the touch can be to the front, side, back, diagonal, etc. Don’t step out so far that you compromise the twist, weight placement, or posture. 
  • This move is typically the first one taught to new students and provides an opportunity to reinforce Home Position and its application within the context of a traveling step.  

Basic Egyptian Backwalk

Zeinat Olwi, another Egyptian Cinema dance star from the Golden Era, often riffed on the Basic Egyptian step with an elegant Basic Egyptian Backwalk transitioning into chasses and CCW Pivot.  

Definition

Basic Egyptian traveling backward. 


Basic Egyptian Walk with Pivot

For beginning students, Jamila developed Basic Egyptian Walk with Pivot as a more accessible version of the Basic Egyptian step.  This simplified step includes additional steps before each hip twist and maintains the same energy and style of the original Basic Egyptian step.  Hoda Shams El Din, an Armenian dancer in Egyptian films, often used this step for traveling.  

Definition

Walk flat-footed halftime [1-2] with Basic Egyptian halftime [3-4].  Arms in 5th position.

 

Notes
  • “Pivot” and “twist” mean the same thing in the Salimpour Vocabulary.
  • The pivot is on count 4.

Basic Egyptian Walk with Pivot Angled

In the 1970s, Suhaila created a variation of Basic Egyptian Walk with Pivot that is stylistically evocative of the great Egyptian dancers of the 1940s-50s.  These dancers added dramatic body and arm angles to their movements.  Suhaila’s version is accented with coordinated arm movements that enhance the dramatic angle of the upper body..  The torso movement has a characteristic sway or roll that Suhaila recognized as a stylized version of the side body wave from her study of jazz dance.  

Definition

Basic Egyptian Walk with Pivot with a side wave down-to-up quartertime.  Arms in 5th position; see Notes for a traditional Vocabulary arm stylization.

 

Notes

 

  • Develop the hip slide first, then the body wave.  The hip slide involves the lower oblique while the ribcage slide moves into the upper oblique.  Lastly, the head follows, completing the step.
  • The wave seems to derive from the twisted hip, but the angle is internal. The side wave is an oblique undulation down-to-up on the opposite side.  This causes a series of soft contraction slides that move from the hip up through the waist, ribcage, shoulder and head.     

  • Travel forward, not on a diagonal.  The angle relates to the upper body movement, not the direction of travel.  
  • For traditional arms, place the same hand as the twisted hip in front of the hip bone with the side of the index finger touching the hip bone, palm facing down; place the other index finger beside the eyebrow. Both elbows are pressed front. Switch hands fluidly through movement with an exaggerated pull. 

Bow Step

In 1979, when Suhaila was 12, she was inspired by Lala Hakim, an Egyptian folkloric dancer Jamila sponsored to teach in San Francisco.  Suhaila documented what we now call Bow Step, and Jamila added it officially to the Vocabulary.  Although the step was not included in the original Danse Orientale published in 1978, the step was taught by Suhaila in the Jamila Salimpour Archives Volume 4 video published in 1983 when Suhaila was 16.  Because of the footwork and twists, this step was incorporated into the Basic Egyptian Family.  However, given the step’s strong folkloric base, it coordinates well with steps in the Salaam Family.  

Definition

Begin facing front (12:00cf) with left foot flat and right foot in relevé. Alternating twists fulltime downbeat right [1&2&]. Arms in 5th position with palms facing front; small arm and upper body reaches fulltime downbeat right [1&2&].

 

Step back on right foot in jazz 4th to 6 o’clock (toes pointing 12:00cf) into bow as hands drop down leading with back of wrists [3].

Step flat on left foot [4]. Return body to beginning position with right foot in relevé [(4)&].

 

Notes
  • The upper body movement comes from the back. 
The arm reaches are small, and the shoulder moves together with the arm.  Coordinate (match) the arm reaches to the twisted hips.  As if you were a marionette, imagine there is a string connecting your finger and hip so that they move together and symmetrically.
  • When stepping back on the right foot, leave the left foot where it is but lifted slightly off the floor with toes pointed to 12:00cf. 


Step Forward-Back-Forward

This step is another variation of Basic Egyptian that resulted from Jamila’s research of professional Egyptian dancers.  The step provides a great base for riffing with variations in tempo, level change, foot placement, foot pattern, and amount of weight or emphasis applied to the touch.

Definition


Step-touch-touch-touch halftime downbeat right [1-4], touching the left foot forward, back, forward through and within jazz 3rd position; alternating twists fulltime downbeat left [2&3&4]. Reverse by stepping flat on left.  Arms in modified -2nd position.

 

Notes
  • Keep the twists clean and even.  
  
  • Use Home Position to stay stable. There is no weight change onto the touching foot.  
  • Note that there is no twist on the step foot; 
  • The default step has no plie, so adding a plie is a variation.  Jamila’s favorite variation was to stylize the move by adding a demi plie on the back touch.  
  • The default move, regardless of traveling direction, maintains the touches continuing forward-back-forward.  Variations of the move can include other other touch patterns such as:  back-forward-back, back- back-forward, forward-back-middle, side-home-side, etc.
  • Be aware there is no twist on the [(4)&]; The twists are LRLRL [2&3&4].  On [(4)&] bring the hips to neutral. 

Full Spin with Basic Egyptian

Basic Egyptian Walk with Pivot, Full Spin with Basic Egyptian, and Salaam Step in a Circle have the same default footwork:  flat-flat-flat-touch.   

Definition

Halftime Three-Step Turn flat-footed [1-4] downbeat right with a single hip twist coordinated with and on the same side as the touching foot [4].  The arms are modified-2nd [1], high 1st [2], and modified-second [3-4].    

 

 Notes
  • Alternative definition:  Chaine turn traveling right flat-footed halftime downbeat right [1-2] with Basic Egyptian halftime downbeat right [3-4].  The default step turns right (CW) first.
  • The single twist is separate from the turn; the twist derives no energy during or from the turn. 
  • When traveling in a traditional Jamila-style circle for class, keep in mind that front means the direction in which you, personally, are currently traveling.  Your front will change as you travel around the circle.
  • The default for Full Spin with Basic Egyptian is to travel side-to-side with the turn.  In contrast, the default turn for Open with Basic Egyptian is to travel forward rather than side-to-side.

Open Spin with Basic Egyptian

The footwork of Open Spin (flat-ball-flat-ball) coordinates well with the footwork of Basic Egyptian step (flat-touch-flat-touch), allowing for a seamless footwork transition.  

Definition


Open Spin traveling forward halftime downbeat right [1-4]; Basic Egyptian halftime downbeat right [5-8].  The default arms are modified-2nd on the flat foot [cts 1 and 3] and high 1st on the ball [cts 2 and 4]; 5th [5-8].

 

 Notes
  • After your second turn, transition the motion gracefully into Basic Egyptian.
  • When first learning the step, you might begin with the footwork and hipwork but without the spin.  To develop balance, you might alternate between eight counts without the spin and eight counts with the spin.
  • The step forward on the flat foot drives the forward movement of the step.  The same flat foot grounds and stabilizes the step.  Turn on the ball of the foot in relevé.  The default turn is CW; the reverse of this step turns CCW.
  • Be aware of your personal front when traveling in a Jamila-style class circle.
  • The default for Full Spin with Basic Egyptian is to travel side-to-side with the turn; in contrast, the default turn for Open with Basic Egyptian is to travel forward rather than side-to-side.

Ghawazee

Jamila introduced this step to the Vocabulary in the late 1970s from her continued research of the Ghawazees.  This step is found throughout many of Suhaila’s choreographies, including the 12 Year Old Dances to music from Aboud Abdel Al’s album, Belly Dance for Arabian Nights.    

Definition

Travel in relevé halftime downbeat right with alternating twists halftime downbeat right.  Arms in modified-second; see Notes for a typical arm stylization. 

 

 Notes
  • Jamila’s favorite arm movement swayed (swished) the arms back and forth, swishing left when the left hip twists and swishing right when the right hip twists.  The arms are held in front of the body with bent elbows at the waist level, wrists flexed, and palms facing front with a relaxed hand.  
  • When a hip twists forward, there is a little swivel on the ball of the same-sided foot that happens as a result of the twist.   
  • A variation of this step is chasse fulltime downbeat right with ¾ twists fulltime downbeat right. 

Twist Step

Twist step is similar to Bow Step and Step Forward-Back-Forward which have halftime footwork and fulltime twists.  Pay close attention to the defaults to learn the differences amongst them. 

Definition

Travel flat-footed in relaxed 5th position to the right halftime downbeat right with alternating twists fulltime downbeat left. Left foot turned out and slightly behind right foot.  Subtle body bounce fulltime with a slight emphasis on the down of the bounce on the downbeat.  Lean your upper body slightly forward as you step on the front foot and bring your upper body back to center as you step on the back foot.  Arms in modified-2nd.

 

 Notes
  • Keep the arms relaxed by elongating through modified 2nd position. Don’t allow the arms or elbows to drop. 

  • Face the center or inside of the circle as you travel to the right.  
  • The subtle bounce emphasizes the down (not the up), which is very similar to the Debke family steps.
  Practice the bounce standing in Home Position.
  • The lean (alternating between front and home) is halftime downbeat front.
  • Keep the twists small and internal, using obliques and glutes, to stay safe and protect the knees.
  • When learning the step, start with the feet.  Then add the bounce, the hipwork, and lastly the alternating lean. 
  • A common stylization adds a slight plie as you step back on the right foot. 

Twist Step with Leg Lift

Twist Step with Leg Lift is a variation developed by Suhaila to capture the stylization and sentiment she observed in the great Egyptian cinema dance stars of the 1930s-50s.  The “leg lift”, which is a jazz passé, initiates an undulation up through the body that is emphasized and framed by arms characteristic of the great dancers.  (See also CCW Pivot (One Up One Down) with Leg Lift.)  Twist Step and Twist Step with Leg Lift were featured in Suhaila’s first choreography at the age of 9 to Walla Zaman.

Definition

Default Twist Step [1-6], low jazz passé right foot and contract lower abs [7], continue with undulation from-the-waist-up down-to-up [&8]. Arms in modified 2nd [1-6]; left power finger at the temple with palm facing the audience and right hand with palm facing hip and fingertips pointing down [7-8]. 

 

 Notes
  • The arms frame but do not touch the body.
  • For the low jazz passé, the toe of the lifted foot is held at the inside of the opposite ankle.
  • As the jazz passé connects to the opposite ankle, the lower abdominal contracts at the same time; this initiates the undulation.
  • Add a head release after the undulation for a common 
stylization. 

  • Add a kick of the right foot [6] for an additional 
stylization.

Pivot-Shift-Step

Pivot-Shift-Step (touch-step-touch-step with alternating ¾ twists fulltime) is a variation of Basic Egyptian (step-touch-step-touch with alternating twists halftime).  Jamila originally called this step “Basic Egyptian Pelvic Twist” using step-touch.  In class the step would vary between step-touch and touch-step based on the steps around it.  For clarity, the default was set to touch-step.

 

Pivot-Shift-Step is featured at the end of Suhaila’s Princess of Cairo choreography where the dancer transitions from Pivot-Shift-Step into Centrifugal Spin.

 

Nabeweya Muspha, one of the Egyptian cinema dancers from the 40s and 50s and known for her amazing curving backbends and splits, effortlessly performed Pivot-Shift-Step double-the-timing.

Definition

Touch-step flat-footed halftime downbeat right with alternating 3⁄4 twists fulltime downbeat right.

 

 Notes
  • Keep each twist even and controlled. 

  • The default timing for the 3⁄4 twist is [1&2, 3&4]. 

  • Stylistically, the “step” in Pivot-Shift-Step has a small demi plié or 
little dip (or sometimes called “sit”) that brings you lower than 
Home Position. 

  • Pivot-Shift-Step is a juicier version of Basic Egyptian. 
  • A common variation is to cross in front or back when traveling to the side. 

Syncopated Pivot-Shift-Step

Inspired by the Pot Dance choreography from Bal Anat that included a syncopated Basic Egyptian, Suhaila experimented by syncopating different steps. When Suhaila began assisting her mother in class at the age of 9, she riffed by using Pivot-Shift-Step in place of Basic Egyptian in many steps such as Open Spin with Basic Egyptian, Full Spin with Basic Egyptian, and V Step (with Basic Egyptian) and Spin.  To substitute the Pivot-Shift-step, she opted to maintain the same Basic Egyptian footwork (step-touch) which allowed for an easier transition of footwork between steps but required the ¾ twist to be syncopated, starting on the upbeat before count 1.  Jamila included the variation in the Vocabulary, calling it Syncopated Pivot-Shift-Step 

Definition

Step-touch flat-footed halftime downbeat right with alternating syncopated 3⁄4 twists fulltime downbeat right (beginning left on the upbeat). 


 

 Notes
  • The default timing for the 3⁄4 twist is [&1,2 &3,4].
  • Pivot-Shift-Step is counted [1&2] and begins on count 1, whereas Syncopated-Pivot-Shift-Step is counted [&1,2] and begins on the upbeat before count 1 [&(1)].
  • A common stylization, as seen in the Bal Anat Pot Dance, is a demi plie on counts 1 and 3.

Full Spin with Pivot-Shift-Step

A variation of Full Spin with Basic Egyptian, this step uses Syncopated Pivot-Shift-Step in place of Basic Egyptian.     

Definition

Halftime Three-Step Turn downbeat right [1-4] with alternating syncopated 3⁄4 twists fulltime downbeat right (beginning left on upbeat) [&3,4].

 

 Notes
  • A common stylization is a demi plie on count 3.


Open Spin with Pivot-Shift-Step

This step is a variation of Open Spin with Basic Egyptian that uses Syncopated Pivot-Shift-Step in place of Basic Egyptian.     

Definition

Open Spin halftime downbeat right [1-4]; Syncopated Pivot-Shift- Step fulltime downbeat right (beginning left on upbeat) [&5,6 &7,8].

 

 Notes
  • A common stylization is a demi plie on counts 1 and 3.


V Step (with Basic Egyptian)

The V Step (with Basic Egyptian) is an evolution of Basic Egyptian Walk with Pivot.  When staging choreography for beginners, Jamila developed this V Step formation. 

 

The V Step floor formation has a dynamic quality, especially when the hips are used to seemingly pull the dancer toward or away from the audience.  In the Bal Anat sword dance, this was used to dramatic effect as the dancers kept their heads centered and leveled, maintained a deep pile, and then the hips moved them in and out.

Definition

Walk halftime downbeat right, creating a V formation on floor; begin at top of right leg of the V (facing right front diagonal).

Walk backward to center of V [1-2] and walk up left leg of V [3-4]. Basic Egyptian halftime downbeat right [5-8].

At the top of the left leg of the V (facing left front diagonal), still halftime down right, walk backward to center of V [1-2] and walk up right leg of V [3-4]. Basic Egyptian halftime downbeat right [5-8].

 

 Notes
  • The hips follow the V floor pattern; hips slide forward when walking forward and slide back when walking backward. Head stays balanced over feet. Hip slide does not return to neutral until the Basic Egyptian. 

  • The default feet are downbeat right no matter on which diagonal you are traveling 
  • Maintain a clear floor pattern. As you travel to the base of the V, make your change in direction from one diagonal to the other clean and definite. 


V Step with Pivot-Shift-Step

This V Step variation uses Syncopated Pivot-Shift-Step in place of Basic Egyptian.    

Definition

V Step (walking halftime downbeat right) [1-4] with Syncopated Pivot-Shift-Step.

V Step with Spin (and Basic Egyptian)

This step is featured in two of Suhaila’s choreographies that include both Salimpour Vocabulary and Suhaila format.  The Level 3 Finger Cymbal Drum Solo and Layali Lobnan build from the V Step (with Basic Egyptian) to the V Step with Spin (and Basic Egyptian).

Definition

Start at top of right leg of the V walking halftime downbeat right: step right foot back with hip slide back [1], three step turn (CCW) following the V to end top of left leg [2-4]; Basic Egyptian [5-8].

Start at the top of left leg of the V walking halftime downbeat right: walk backward with a hip slide back [1-2] and chaine turn (CW) [2-4] following V to end at top of right leg; Basic Egyptian [5-8].

 

 Notes
  • Because the default feet stay downbeat right throughout, the turns are slightly different on both sides (although both are inside turns). 

  • Keep the same hip slide stylization as outlined in the original step, except the hips remain neutral when turning. 

  • Even when turning, trace the V floor pattern with precise foot placement. 

  • The default turn is not a barrel turn.

V Step with Spin and Pivot-Shift- Step

This V Step variation uses Syncopated Pivot-Shift-Step in place of Basic Egyptian.     

Definition


V Step with turns (walking halftime downbeat right) [1-4] with Syncopated Pivot-Shift-Step. 


CCW Pivot (Halftime)

In her research, Jamila found that  CCW Pivot and Basic Egyptian were two of the most commonly steps used by the great dancers of the 1930s-70s.  CCW Pivot was also commonly used by women dancing at home and has a connection to the Arabic Family steps, so Jamila considered this step as a bridge between the Basic Egyptian and Arabic Families.  However, this step is placed solidify in the Basic Egyptian Family because of its prevalent use by professional dancers, the use of twists for the hipwork, and the progression from halftime to doubletime. 

 

For CCW Pivot step variations, maintain the step name for proper connection to the default move, stylization, and sentiment.  To turn CW, you say CCW Pivot turning CW.  To reverse the step, say Reverse CCW Pivot. 

Definition

Turn, with left foot flat and right foot in relevé, downbeat right with twists halftime downbeat right; paddle turn CCW in jazz 1st by lifting left heel as right foot follows.

 

 Notes
  • CCW Pivot steps are defined by twists and a rooted leg with flat foot.
  • The flat foot of the rooted leg never comes off the floor. Jamila would say to visualize the ball of the foot nailed to the floor. 
  • The feet alternate: ball-heel-ball-heel. Ensure the paddling foot is lifted slightly off the floor and placed on the ball of the foot (not the toe).  The flat foot is anchored; lift the heel slightly to pivot on the ball.
  • While the heel of the flat foot appears to initiate the pivot, the twist is safely initiated in your obliques.
  • There is no default timing on the feet; don’t get stuck with one timing. Experiment using different timings while keeping the twists halftime.
  • The feet stay parallel in jazz 1st; neither foot moves or crosses behind or in front of the other.

  • Keep upper body lifted to stabilize and to prevent the hipwork 
from taking over and curving you inward. 
 

CCW Pivot Doubletime

The doubletime version of CCW Pivot was not quite as commonly used, but it provides an obvious progression in intensity from CCW Pivot halftime and fulltime.  Doubletime twists can be hard to maintain over a longer period of time, and the Shimmy Family includes several doubletime options with singles (ups and downs).  

Definition

CCW Pivot: feet downbeat left, twists doubletime downbeat left.

 

 Notes
  • CCW Pivot Halftime and Fulltime are considered fundamental steps in the Salimpour Vocabulary.  While CCW Pivot Doubletime is considered a more advanced step, it is introduced with the fundamental steps to show the progression of the step and provide an understanding of timing differences.  
  • The speed can be challenging, so make sure to have a solid Home Position; a solid, grounded foot position; and controlled and even twists.
 

CCW Pivot: One Up, One Down

CCW Pivot One Up One Down has a similar vibe to Jamila’s favorite stylization of Step-Forward-Back-Forward where she would demi plie on the back step.  CCW Pivot One Up One Down pairs well with the Saidi rhythm, of which Jamila was particularly fond.  

Definition

CCW Pivot Fulltime; alternating Home Position and plié halftime downbeat Home.

 

 Notes
  • This is a variation of CCW Pivot Fulltime with a default of twists fulltime.
  • Alternate Home Position and plié halftime downbeat Home. Home [1], demi plié [2], Home [3], demi plié [4]. The demi plié is slightly below Home, but still maintain the twist. 

  • Move on the flat foot by lifting the heel and pivoting on the ball. The paddling foot is mainly for counting and stylization.

CCW Pivot: (One Up, One Down) with Leg Lift

CCW Pivot (One Up One Down) with Leg Lift is a variation developed by Suhaila to capture the stylization and sentiment she observed in the great Egyptian cinema dance stars of the 1930s-50s.  The “leg lift”, which is a jazz passé, initiates an undulation up through the body that is emphasized and framed by arms characteristic of the great dancers.  (See also Twist Step with Leg Lift.)

Definition

CCW Pivot One Up, One Down [1-6], jazz passé right foot and contract lower abs [7], continue undulation from-the-waist-up down-to-up [&8]. Arms in modified 2nd [1-6]. Left hand to side of head and right hand with palm facing hip and fingertips pointing down [7-8]. 

 

 Notes
  • This is a variation of the CCW Pivot One Up One Down with a default of twists fulltime.
  • Add a head release after the undulation for a common stylization.

Stomp Step

In her study of folkloric dance, Suhaila observed and documented the Stomp Step as a variation of the CCW Pivot.  Jamila added the step to the Vocabulary in the 1970s, and Suhaila taught the step in Archives Volume 4 published in 1983.  While the step coordinates well with the Salaam Family, Stomp Step was categorized in the Basic Egyptian Family due to the CCW Pivot connection.

Definition

CCW Pivot Fulltime with right foot stomps halftime.

 

 Notes
  • Turn CCW by lifting left heel to pivot CCW on the ball. 

  • Brush, lift, and stomp the right foot (&a1, &a3).

CCW Pivot Spin

This spin was a result of Suhaila riffing on the Ghawazee and CCW Pivot steps.

Definition

Arabic 2 feet parallel fulltime downbeat left with twists fulltime downbeat left, turning CCW.  Complete two turns per 4/4 measure.

 

 Notes
  • Keep feet parallel; don’t wrap or cross. 

  • The flat foot is your preparation for the turn, so plant your turn 
on the flat foot. 

  • Use the momentum of the twist to move you around.  Spot front.

  • A typical variation is to turn to four quadrants: plant left foot flat 
to 12 o’clock for first turn, to 3 o’clock for second, to 6 o’clock for third, to 9 o’clock for fourth. 


Whip Spin with Twist

Whip Spin with Twist is a Twist Step variation developed by Suhaila.  Suhaila studied Nadia Gamal’s performances noting that she often used a leg out whip spin, a movement that Suhaila also learned as part of her jazz dance studies.  Combining the Twist Step and the Whip Spin, Suhala created this variation of the Twist Step that represents Nadia’s grand and dramatic dance style.

Definition

Brush right foot on upbeat [&(1)]; walk halftime downbeat right [1- 2]; brush right foot on upbeat [&(3)]; walk halftime downbeat right [3-4]. Alternating twists fulltime downbeat left. Three quarter turns CW following a CCW floor pattern. 


Wrists flexed and palms facing front: circle arms in-to-out from high 1st to 2nd [&1-hold, &3-hold]. 

 

 Notes
  • The brushed leg is a low fan kick (not turned out) from jazz 1st and ending in a tight jazz 2nd (under hip bones). 

  • Brushing leg steps to the direction to spot the turn: pointing 12 o’clock (body facing 9 o’clock), pointing 9 o’clock (body facing
6 o’clock), pointing 6 o’clock (body facing 3 o’clock), pointing 3 o’clock (body facing 12 o’clock). 


Five Count

Five Count has five footsteps, from which it derives its name.  Jamila debated the placement of the Five Count as it made a good candidate for both the Basic Egyptian and Arabic Families.  The basic footwork was used in one variation or another by professional and home dancers alike.  She chose the Basic Egyptian Family given the step’s frequent use by professional dancers and capacity for adding hipwork. 

Definition

Step right foot on ball crossed behind left foot [1], step left foot
 flat in place [2]. Bring right foot into jazz 1st and step at fulltime downbeat right [3&4]. Right arm in 5th and left arm extended in high 1st [1-2], arms in 5th [3-4]; reverse [5-8].

 

 Notes
  • The last three steps of the Five Count are not a chassé. 

  • Begin with the right arm in 5th and left arm extended in high 
1st [1-2] and end with both arms in 5th [3-4] for a traditional arm 
stylization. 

  • The step was sometimes described as “side-to-side”, not because you traveled 
side-to-side, but because the foot pattern alternated which foot crossed behind. 


Five Count with Half Spin

Definition

Five Count with outside half turn when stepping fulltime downbeat right [3&4]. 



 Notes
  • Turn in relevé to protect the knees when spinning. 

  • Do not begin the spin too early; the first two steps are not part of 
the turn. 

Five Count with Full Spin 


Definition


Five Count with outside full turn [3&4]. 


Four Count

This step was documented from the Tunisian dancers with whom Jamila worked in the nightclubs.  The movement provides a great opportunity to accent the music and for costume skirts to swirl or swoosh around the dancer.  Suhaila features this step with FMMB (Running Choo Choo Family) in Joumana after her opening promenades.

Definition

Travel forward: step right foot flat back 6 o’clock in slight turn out [1]; step left foot flat in place [(1)&]; step right foot forward on ball to 1:30cf with front right hip flexor hard contraction [2]; and step left foot forward on ball beside right foot [(2)e]. Arms in modified 2nd position.

 

 Notes
  • The initial step back does not cross behind. 

  • The foot placement is the same as Persian 1-3, but the right foot is flat and slightly turned out.
  • When you step forward on the left foot to meet the right [(2)e], 
evenly distribute weight on both feet. 

  • The hip movement is not a twist or an oblique contraction. 

  • Hold hip flexor contraction for the entire count [2e&a] before 
releasing to neutral.

X Step

The X Step resulted from Jamila’s study of the Algerian dancers with whom she worked in the nightclubs in the 1950s and 60s.  The Algerian dancers featured dramatic pelvic locks which, for that time, were considered by many to be too vulgar for the stage.  In an effort to stylize the move for performance and emulating the Great Egyptian cinema belly dancers, the X Step was Jamila’s answer.  Ironically, no pelvic lock is left in the move, but the spirit of a large dramatic pelvic lock still remains.

Definition

Travel backward, making an X pattern with your hips: weight on left foot in relevé with left hip flexor contraction [&(1)]; weight on right foot flat with right glute contraction [1]; weight on R foot in relevé with R hip flexor contraction [&(2)]; and weight on left foot flat with left glute contraction [2]. 


 

 Notes
  • Keep footwork clean. Weight is on one foot at a time. 

  • The X drives the feet; the feet don’t drive the hips. 

  • When lifting a foot off the floor, keep it relaxed in a flexed position. 

  • Keep the legs and feet close together. 


The content from this post is excerpted from The New Danse Orientale: Salimpour Belly Dance Instruction, published by Suhaila International in 2013 with updates and additional content added in 2023. The New Danse Orientale is a study guide and resource for belly dancers when learning Salimpour Vocabulary steps and step families.

If you would like to make a citation for this article, we suggest the following format: Salimpour, J. & Salimpour, S. (2023). Basic Egyptian Family. Retrieved –insert retrieval date–, from https://suhaila.com/basic-egyptian-family

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