Music Chapter Journal
s770786547
Chapter12.docxCHAPTER 12—FROM BALADI TO BELLY DANCE: RHYTHM, DANCE, AND MUSIC IN EGYPT AND BEYOND
Umm Kulthum (December 31, 1898, or May 4, 1904 - February 3, 1975)
Internationally famous Egyptian singer, songwriter, and film actress.
Her extraordinary vocal ability and unique style of delivery established her as the one of the most influential Arab singers of the 20th century.
Complete the following and save it in WORD (.docx).
Attach a file of the same (and do a copy/paste into the text box too as a back up) and submit right here in the
Chapter 12 Music Journal Assignment
|
Your Name |
|
The Chapter Objectives
In this chapter, students will learn about:
· The historical and cultural backgroundof Arab-Egyptian dance music
· Arab-Egyptian melodic and percussion instruments
· Middle Eastern art music of the takht ensemble tradition
· Genres of women’s solo dance traditions of the Middle East and their international offshoots (e.g., belly dance)
· Characteristic rhythmic patterns used in Arab-Egyptian dance music
· Interrelationships of politics, nationalism, mass media, music, and dance in 20th century Egypt
· Influential composers, instrumentalists, vocalists, and dancers from Egypt and other Middle Eastern nations
Overview
Women’s dance is an important, though often controversial, part of Egyptian cultural heritage and the broader culture of the Arab-Islamic Middle East. This status has been complicated by Orientalist and other Western representations of Middle Eastern dance and dancers, as well as by religious, cultural, and political agendas. In this chapter, three domains of dance—raqs baladi, raqs sharqi, and international belly dance, along with standard rhythms and instruments associated with these genres—are explored through demonstrations and recorded performances by Hossam Ramzy and other well-known musicians. Exploration of genres, melodic structures, and performance techniques further enhance understanding of Egyptian and Egyptian-derived music and dance. Art music traditions of the Middle East (maqam, takht, taqsim), as well as a range of other traditions spanning from Qur’anic recitation to Iraqi heavy metal, are examined as well.
Chapter 12 Journal Part 1: The Informative Contents
Getting Started: Middle Eastern Instruments
1. Before beginning our study of Arab-Egyptian music, scan through the chapter and identify the instruments you will encounter. Listen to the demonstrations of these instruments on CD4 Track 14, and use the following chart to list instruments and describe the sounds (timbres) they make:
|
Instrument |
Timbre Descriptions: |
Similar to: |
|
Mazhar CD4-14 0:14 |
|
|
|
Duff CD4-14 0:31 |
|
|
|
Doholla CD4-14 0:43 |
|
|
|
Tabla (Egyptian) CD4-14 1:03 |
|
|
|
Riqq CD4-15 0:00--0:15 |
|
|
|
Sagat CD4-15 0:15—0:29 |
|
|
|
‘Ud CD1-15
|
|
|
|
Qanun CD1-15
|
|
|
|
Nay CD1-15
|
|
|
|
Joza CD1-15
|
|
|
|
Mizmar CD4-18
|
|
|
This reference chart can serve as a guide to more effective listening responses!
Introduction to Egyptian/Arab-Islamic History, Culture, and Music
The opening portions of this chapter introduce key historical, cultural, and musical subjects that provide a context for the main topics discussed in the chapter’s later sections.
“Iraqi Café” Guided Listening Experience, CD1-15
After listening to CD1-15 and reading the information on pages 280-284, listen to CD1-15 again and complete the following chart describing the selection, its form, and its instrumentation. Focus on the maqam system (general features, specific maqamat, procedures for modulating from one maqam to another), the opening solo ‘ud taqsim (as well as the accompanied rhythmic taqasim of later sections of the piece), the instruments of and instrumental roles within the takht ensemble, the heterophonic melodic texture of ensemble passages, and the relationship between melody and rhythmic accompaniment in ensemble passages.
Comparing and contrasting the maqam system to the Indian raga system discussed in Chapter 8 may be helpful here.
2. List your Musical Observations for “Iraqi Café” Guided Listening Experience, CD1-15:
|
TAQSIM |
List your musical observations |
|
0:00—1:34
|
|
|
MAIN MELODY |
|
|
1:35—2:08
|
|
|
RHYTHMIC TAQSIM 1 |
|
|
2:09—2:22
|
|
|
FURTHER SECTIONS |
|
|
2:23—2:46
|
|
|
2:47—3:05
|
|
|
3:06—3:34
|
|
|
3:35—3:52
|
|
|
3:53—4:21
|
|
|
4:22—4:39
|
|
|
CONCLUSION |
|
|
4:40—end
|
|
3. Define the following terms:
|
Key Terms |
Definitions, Explanations, or Comments |
|
Tabla (Egyptian) |
|
|
Belly dance |
|
|
Takht |
|
|
Raqs Sharqi |
|
|
Raqs baladi |
|
|
Zaar
|
|
|
Orientalist (Orientalism) |
|
|
Maqam |
|
|
Qur’anic recitation |
|
|
Quarter tone |
|
|
Ney
|
|
|
Qanun
|
|
|
‘Ud
|
|
|
Riqq
|
|
|
Taqsim
|
|
|
Egyptian nationalism |
|
|
Ghawazi |
|
|
Baladi (folk heritage)
|
|
|
Sagat |
|
|
Dum, tek (drum strokes) |
|
|
Firqa (firqa musiqyya)
|
|
|
Masmoudi
|
|
|
Maqsoum
|
|
|
Fallahin
|
|
|
Fallahi
|
|
|
Tahtib
|
|
|
Saaidi
|
|
|
Tabla Solo(dance/music form) |
|
|
Cane dance (Women's--raqs al 'asaya)
|
|
|
Malfuf
|
|
Chapter 12 Music Journal Part 2
Questions/Music Listening and Analysis
Foundations of Women’s Dance
Western audiences define Middle Eastern women’s dance mainly in relation to professional or semiprofessional dance performances in various entertainment venues. However, in the Arab world, domestic women’s gatherings, typically occurring out of the sight of men and in the privacy of the home, principally define the realm of women’s dance culture. The use of song and dance as a rite of passage into womanhood is common in many cultures. For example, the Apache Nai’es (also referred to as Changing Woman Ceremony, although the literal translation is “preparing her”) marks the passage into adulthood through a series of dances and activities to remold the young woman into an adult. Pages 286-289 provide an overview of the history and development of Egyptian women’s dance.
4. List some of the speculations about the ancient origins of women’s dance. What were some of the main purposes served by dancing in earlier times (and to some extent still today)
5. What is the Ghawazi tradition?
Zaar - Zaar is an ancient healing ritual rooted in shamanistic practices and involving spirit dancing and trance dancing. Although officially prohibited among Muslims, it continues to be practiced in private ceremonies and performed in folkloric productions as a symbol of Egyptian heritage. The use of dance in healing ceremonies occurs throughout the world. The Santería (Regla de Ocha) rituals briefly described in Chapters 2 and 11 and the Nai’es referenced above are but two examples. Both involve creating altered states through music and dance. The zaar ritual is described on pages 263-264.
Traditional Zaar Rhythms, Hossam Ramzy, CD4-12
Hossam Ramzy’s performance of “Alla Hai” (CD4-12) introduces the zaar rhythm and the large number of variant forms it may take in the course of a performance. Before listening to this example, however, use the following activities to become more familiar with the rhythm patterns, instruments, and structures of this genre of music. Clap the basic zaar rhythm shown in Figure 12.1 (page 291).
6. Listen to the demonstrations of Arab-Egyptian percussion instruments on CD4-14 and CD4-15. Use the following chart to record your descriptions of the characteristic sounds distinguishing one instrument from the other.
|
Instrument |
Description of sound |
|
Mazhar 0:14
|
|
|
Duff 0:31
|
|
|
Dohalla 0:43
|
|
|
Riqq 0:00—0:15
|
|
|
Sagat 0:16—0:29
|
|
7. Use the following chart to record comments and observations to describe each designated section of “Alla Hai,” Hossam Ramzy, CD4-12. Clap/tap the basic zaar rhythm throughout the listening experience too:
|
Section |
Comments/Musical Observations |
|
Introduction 0:00—0:17
|
|
|
Slow Zaar Section (Part I) 0:18—1:52
|
|
|
Tabla elaborations begin (1:00)
|
|
|
Transition (cued by tabla) 1:49
|
|
|
Fast zaar section (Part II) 1:53—end
|
|
“Zeina,” Hossam Ramzy Group, CD4-16 - “Zeina,” originally composed by Muhammad ‘Abd al-Wahhab for a dance number featuring Samia Gamal in the Egyptian film Zannouba, is represented in CD4-16 in an arrangement by Hossam Ramzy. Although ‘Abd al-Wahhab frequently used Western instruments, harmonies, and rhythms in his earlier film music, “Zeina” represents his later work, in which he placed greater emphasis on distinctly Arab-Egyptian derived musical elements. Pages 295-298 explore ensembles and instruments used in film music as well as analyze the performance of “Zeina.”
8. What are the five standard instruments of the Takht ensemble in an Egyptian context?
9. In the large ensemble used for film music (the firqa musiqyya), Western instruments were added to those of the traditional Egyptian takht. List some of the instruments commonly added from the Western tradition. Which instruments—Western and non-Western—supplement the takht instruments in this performance of “Zeina”?
Before listening to CD ex # 4-16, look at the basic masmoudi rhythmic pattern notated on page 299 and the variant forms in the “Insights and Perspectives” box on page 300.
10. Listen to CD ex # 4-16 “Zeina,” Hossam Ramzy Group and use the following chart to record your comments, observations, and descriptions of each section:
|
Section |
Comments/Observations |
|
Introduction 0:00—0:20
|
|
|
“Zeina” melody First statement 0:21—1:06
|
|
|
“Zeina” melody Second statement 1:07—1:51
|
|
|
Fast zaar section 1:52—2:59
|
|
|
Reprise of “Zeina” melody 3:00—end |
|
Post-Independence Era - After the “bloodless revolution” of 1952 and the establishment of the Arab Republic of Egypt under Gamal ‘Abd al-Nasser, a cultural nationalism agenda placed emphasis on the support of Egyptian folk culture (baladi). Baladi, including music, dance, art, and folk rituals and ceremonies, became symbolic of the new Egyptian national identity. Pages 301-303 outline how these changes impacted women’s dance and music and several leading dancers, musicians, and actresses.
11. Why was the Raqs Sharqi world now seen as a poor example for Arab-Egyptian womanhood? How did this affect the entertainment industry?
12. How did the patronage of ‘Abd al-Nasser benefit the careers of Muhammad ‘Abd al-Wahhab and Umm Kulthum? Give consideration to the significance and cultural contributions, musical and otherwise, of these two towering figures in Egyptian/Middle Eastern music, mass media culture, and nationalism in your response.
13. Discuss the role of Farida Fahmy and the Reda Troupe in promoting an “indigenous Egyptian culture”? What were the sources and inspiration for the repertoire of this troupe? How was the Reda Troupe promoted? Explain the irony of the success and public image of this troupe.
Folk Dance Rhythms in Raqs Sharqi and Belly Dance: Fallahi and Saaidi - The popular interest in folklore following the establishment of the Arab Republic of Egypt resulted in adoption and adaptation of certain dance rhythms identified with folk culture including fallahi and saaidi. The fallahi rhythm is demonstrated in CD4-17, while CD4-18 offers an illustration of Saaidi rhythm.
Fallahi Rhythm, CD ex. # 4-17
Before listening to this example, vocalize the fallhi rhythm, or play it on a table or desk using the strokes indicated in Figure 12.3. Listen to CD4-17 and play along.
|
Beat |
1 |
|
|
|
2 |
|
|
|
1 |
|
|
|
2 |
|
|
|
|
Strokes |
Dum |
tek |
|
tek |
Dum |
|
tek |
|
Dum |
tek |
|
tek |
Dum |
|
tek |
|
Saaidi Rhythm, CD4-18 - Before listening to this example, vocalize the saaidi rhythm, or play it on a table or desk using the strokes indicated in Figure 12.4. Listen to CD4-18 and play along.
|
Beat |
1 |
|
|
|
2 |
|
|
|
1 |
|
|
|
2 |
|
|
|
|
Strokes |
Dum |
tek |
|
Dum |
Dum |
|
tek |
|
Dum |
tek |
|
Dum |
Dum |
|
tek |
|
About Women’s Cane Dance--
Dances and singing games originating in martial arts and training for battle may be found in several other cultures. For example, the Brazilian dance genre capoeira originated among Afro-Brazilians during their struggle for equal rights, Zulu dancers in South Africa use spears and shields in addition to movements mimicking fighting skills in specific dances, and both the haka and tittorea of the New Zealand Maori originated in training for battle. The haka is a fierce challenge sung and danced by warriors to intimidate their opponents (a practice which may be observed before the start of any New Zealand All Black) and the tititorea stick tossing game hails back to when warriors were training to toss weapons to comrades during battle.
The Saaidi rhythm is closely linked to tahtib, a form of martial arts traditionally practiced by Egyptian men. In tahtib, there are contexts of actual fighting, sportlike combat, and a dance in which players demonstrate skill, inventiveness, and musicality. This “dance with stick” (raqs bil’asaya) is usually performed just before or after a tahtib match. Typically, the accompanying music is performed by a drum struck with sticks (tabl baladi) accompanying a melody played on one or more aerophones (mizmar). The women’s cane dance (raqs ‘al asaya) also derives from tahtib.
From Cairo to Mexico, Lebanon, and Beyond
“La Cucaracha,” Hossam Ramzy and Pablo Cárcamo, CD4-21 and 4-22 - This selection is an example of how music travels from culture to culture through the work of creative artists. The rhythmic background is played on standard instruments of the Arab-Egyptian percussion section, yet the melody and other parts are performed on South American panpipes, guitar, and other Latin American instruments. The melody itself is the Mexican folk song “La Cucaracha.” A touch of modern technology makes the performance possible—through the use of overdubbing and multitrack recording, all of the many parts are performed by just two musicians.
14. Listen to “La Cucaracha,” Hossam Ramzy and Pablo Cárcamo, CD4-22. Briefly describe what you are hearing. Do you like this fusion of Arab-Egyptian and Mexican music--Yes or No? What characteristics seem to make it enjoyable or not enjoyable to your ears.
“Hou Hou Hou,” Emad Sayyah, CD4-23
15. After reading the information on pages 309-311 about Hossam Ramzy, Emad Sayyah, and Lebanese music, listen to “Hou Hou Hou,” Emad Sayyah, CD4-23 and fill in what you notice in each section of the song on the following chart:
|
INTRODUCTION |
|
|
0:00-0:19 |
|
|
MAIN TUNE |
|
|
0:20-0:47 |
|
|
MASMOUDI SECTION |
|
|
0:48-1:03 |
|
|
SENTIMENTAL SECTION |
|
|
1:04-1:20 |
|
|
REPRISE |
|
|
1:21-2:38 |
|
|
“LATIN” SECTION |
|
|
2:39-3:15 |
|
|
CONCLUSION |
|
|
3:16-3:31 |
|
|
3:32-end |
|
Umm Kulthum
Kawkab al-Sharq كوكب الشرق ("Star or Planet of the East")
Umm Kulthum
Egyptian Singer born either December 31, 1898, or December 31, 1904; died February 3, 1975
widely regarded as the greatest female Arabic singer in history.
Umm Kulthum's voice and music was the embodiment of tarab — a unique quality of Arab music that translates best to the word "enchantment."
Her songs deal mostly with the universal themes of love, longing and loss. They were nothing short of epic in scale, with durations measured in hours rather than minutes. A typical Umm Kulthum concert consisted of the performance of two or three songs over a period of three to six hours. In the late 1960s, due to her age, she began to shorten her performances to two songs over a period of two and a half to three hours. These performances are in some ways reminiscent of the structure of Western opera, consisting of long vocal passages linked by shorter orchestral interludes.
The duration of Umm Kulthum's songs in performance was not fixed, but varied based on the level of emotive interaction between the singer and her audience. A typical improvisatory technique of hers was to repeat a single phrase or sentence of a song's lyrics over and over, subtly altering the emotive emphasis and intensity each time to bring her audiences into a euphoric and ecstatic state, and was considered to "have never sang a line the same way twice".
There is something known as "Tarab" - Tarab happens when we reach that epic moment of a feeling ("being carried away") derived from hearing music whether it instrumental or voice or both together expressing either joy, pain sorrow or any other intense emotion.
16. Click on the links below to view, describe, and comment on the music of Umm Kulthum demonstrating her ability with tarab. Be sure to note what happens with the audience during her performances. Click the links below for a great segment about Umm from National Public Radio, and to Part 1 of the excellent documentary Umm Kulthum: A Voice Like Egypt. Listen, view, describe, and comment on what you experience here:
Umm Kulthum: 'The Lady' Of Cairo by Neda Ulaby for NPR – National Public Radio; March 15, 201012:00 AM ET (Links to an external site.)Links to an external site.
The print article:
http://www.npr.org/templates/story/story.php?storyId=124612595 (Links to an external site.)Links to an external site.
Part 1 of the documentary
Umm Kulthum: A Voice Like Egypt
(Links to an external site.)Links to an external site.
Known as the “Lion of Sha’abi Music” in Egypt, Abdel Hakim Abdel Samad Kamel (born in 1962) - known simply as "Hakim"
Sha'abi is music of the people—Egyptian street music. Beginning in Cairo in the 1970s, this new form of urban music expressed the frustrations of modern Egyptian life. Please scroll down below our Reflections Area of this Chapter 12 Journal to read "Egypt Since January 2011" to begin to understand the incredible and complex course of events in Egypt since the advent of The Arab Spring in 2010 - the outcomes of "the frustrations of modern Egyptian life" are revealed there.
Sha'abi lyrics can be both political and humorous with many double entendres.
I was personally was on the fence for the first revolution. I wasn’t exactly sure what to think. I think it was a necessary correction that needed to happen so we could get new blood and refresh things. To have new people coming up and standing for their own freedom. That was the 2011 revolution. However, June 30, 2013–this was when I realized that the people who would be taking over would be the true Egyptians, people who would really support the country. I was happy that so many people were willing to support the second revolution. To me this was the actual revolution. When [Mohamed] Morsi was kicked out and we had our temporary president take over, and then we had our true election and Abdullah Fattah El Sisi took over. So there were two corrections. The first one was more about beginning change; the second one was going exactly the right way.
Hakim http://www.afropop.org/30979/hakim-talks-post-revolution-egypt/ (Links to an external site.)Links to an external site.
17. Click below to listen and write a musical and reflective response to the following song by Hakim:
Es Salamo Allaikoum (Peace Be Unto You)
ess ess peace on u all
after sayin peace (means hii) talking will be better
بعد السلام يحلى الكلام
stay awake all the night along ..melting in love
life is beautiful so come on accept those days with hugs
my heart already saied "peace" so u should say it 2 now
and u shall open ur heart and forget about those fights
dance..sing .. dont u dare to get away from me
give me ur hands cause we'r talking about peace so its enough to be mad
get closer to my love come closer my baby
اتضم شوقك على شوقي قرب يا واد
and this beuatiful world must be better after all this distance we got through
between ur eyeshalls take me .. come closer to my cheast
smile with a wink.. thats what it takes
السلام عليكم.. السلام عليكم
I just want u 2 give me some love and sweetness
and in this love I shall forget the bad times
even if we made mistakes ..dont go and leave me
come on u..live and let me live 2...dont stay sad
السلام عليكم.. السلام عليكم
El Salam - Es Salamo Allaikoum (Peace Be Unto You) - Hakim (2002) (Links to an external site.)Links to an external site.
18. Click below to listen and write a musical and reflective response to another song by Hakim:
Aam Salama (عم سلامة)
Ohh, Amm Salama1 (Links to an external site.)Links to an external site.
Where did safety go?
and love and tenderness
and why are the poor, oh, being eaten by wolves?
and cruelty is everywhere
There isn't a path we can walk
nor a tear we can hide
We are living in dark days
And the poor is always degraded
Even greetings are all done standing
Left and right everyone is deviating from [morals/the law..etc]
And nobody understands nor knows [anything]
nor can anyone find a place for himself
Ohh, Amm Salama
Tell me what is going on
Is doomsday coming or what?
(2x)
People wound and deceive
People slaughter and hurt
People speak ill about each other [in their absence]
There are so many unfair people
People gloat [over others' hardships] and they hold grudges
People sell each other out
People covet the livelihood of each other
There are so many treacherous people
Ohh, Amm Salama
Tell me what is going on
Could it be that doomsday
has come, or what?
In the days we have seen suffering
And mornings became the same as nights
till it made us fed up
and the heart is full of sadness
The taste of food became bitter
and the days refuse to pass
There's less goodness and more evil [in the world] now
And people became all sharks
(2x)
Ohh, Amm Salama
Tell me what is going on
did doomsday
come, or what?
Ohh, Amm Salama
Tell me what is going on
Could it be that doomsday
has come, or what?
People wound and deceive
People slaughter and hurt
People speak ill about each other [in their absence]
There are so many unfair people
People gloat [over other's hardships] and they hold grudges
People sell each other out
People covet the livelihood of each other
There are so many treacherous people
Ohh, Amm Salama
Tell me what is going on
Could it be that doomsday
has come, or what?
Aam Salama (عم سلامة) - Hakim (2015) (Links to an external site.)Links to an external site.![IMG_261]()
Migratory Map of the Romani (Roma) People
The migratory path of Roma or Romani (also known as Gypsy) people has served to disseminate the music of culture groups from distant geographical locations to new ones - bringing musical styles that influence and re-shape the music in these "new home" locales.
Two wonderful examples of this are below - the vocal timbre and delivery style of Camarón de la Isla is rooted in the Roma tradition from the Andalusian region in southern Spain where he was born Roma. The great Flamenco guitarist Paco de Lucía although not Roma by blood, was also born in Andalusia and was immersed in Romani (Gypsy) culture from birth.
"I didn't have a consciousness about Gypsy and non-Gypsy because my childhood life was very mixed," he explained, speaking through a translator. "Later, when I was older, I understood the difference, but not as a child. I knew I wasn't a Gypsy, but I was living in that same culture and philosophy and way of life since the day I was born." Paco de Lucía
Felix Contreras NPR News http://www.npr.org/2011/01/03/132450621/camaron-de-la-isla-the-voice-of-flamenco (Links to an external site.)Links to an external site.
(Links to an external site.)Links to an external site.
Paco de Lucía and Camarón de la Isla
Paco de Lucía was a Spanish virtuoso flamenco guitarist, composer and producer. A leading proponent of the New Flamenco style, he helped legitimize flamenco among the establishment in Spain, and was one of the first flamenco guitarists to have successfully crossed over into other genres of music such as classical and jazz.
Paco was noted for his fast and fluent picados (fingerstyle runs). A master of contrast, he often juxtaposed picados and rasgueados (Flamenco strumming) with more sensitive playing and was known for adding abstract chords and scale tones to his compositions with jazz influences. These innovations saw him play a key role in the development of traditional Flamenco and the evolution of 'New Flamenco' and Latin jazz fusion from the 1970s. He received acclaim for his recordings with flamenco singer Camarón de la Isla in the 1970s, recording ten albums which are considered some of the most important and influential in Flamenco history.
19. Click on the link below to view, listen, and describe the musical activity in a performance of Paco performing his own composition, "Rio Ancho."
Paco de Lucía performing Rio Ancho (Links to an external site.)Links to an external site.
Camarón de la Isla
December 5, 1950 – 2 July 2, 1992
Camarón de la Isla was the stage name of a Spanish flamenco singer José Monje Cruz.
“Flamenco singing is one of life's deeper musical mysteries. We hear traces of Africa by way of the Moors; you can also hear bits of Punjabi singing; there are Persian, Arabic and even Jewish cultures in the DNA of flamenco.”
Felix Contreras NPR News http://www.npr.org/2011/01/03/132450621/camaron-de-la-isla-the-voice-of-flamenco (Links to an external site.)Links to an external site.
Cante meaning "flamenco song", is one of the three main components of Flamenco along with toque (playing the guitar) and baile (dance). Because the dancer is front and center in a flamenco performance, foreigners often assume the dance is the most important aspect of the art form - but in fact, it is the cante which is the heart and soul of the genre. A cante singer such as Camarón de la Isla is known as a Cantaor.
20. Click below to listen and write your observations about Como El Agua featuring both Paco and Camarón together. Listen for his vocal timbre and singing style similarities to the vocal delivery style we have been listening to from Egypt.
Como El Agua -
Camarón de la Isla and Paco de Lucía
(Links to an external site.)Links to an external site.
21. Click below to listen, view, and describe the musical activity in Bulerias, again featuring both Paco and Camarón together! The video is of an actual live performance of both musicians from 1976. Note the intensity of Cameron’s whole being in this video—especially his concentration on the great Paco de Lucía. Respond to 21a) 21b) and 21c) below:
21a) What music characteristics do you notice? Describe Camarón's vocal timbre.
21b) Describe the interaction between the guitar and the voice. What contrasts do you notice in the music as it unfolds?
21c) Look, listen, and make note of any changes in texture, dynamics, and intensity in this selection--use minute/second time marks in your observations to indicate where you noticed specific characteristics. Finally, include your reflections on this Cante Flamenco performance.
A Live Performance of
Bulerias -
Camarón de la Isla and Paco de Lucía (1976)
(Links to an external site.)Links to an external site.
Chapter 12 Journal - Part 3: Reflections
|
What, in this chapter, was new to me? |
|
|
What, in this chapter, would I like to know more about? |
|
|
Of the musical examples in this chapter, which did I enjoy the most? Why? |
|
|
Of the musical examples in this chapter, which did I enjoy the least? Why? |
|
|
Other thoughts or comments about Chapter 12. |
|
Egypt Since January 2011
The Arab Spring was a revolutionary wave of demonstrations and protests (both non-violent and violent), riots, and civil wars in the Arab world that began on 17 December 2010 in Tunisia with the Tunisian Revolution, and spread throughout the countries of the Arab League and its surroundings. Major insurgencies in Syria, Libya and Yemen resulted along with civil uprisings in Egypt and Bahrain, large street demonstrations in Algeria, Iraq, Jordan, Kuwait, Morocco and Oman, and minor protests even in Saudi Arabia.
Unhappiness among many Egyptians with the autocratic rule of 30-year President Hosni Mubarak boiled over in late January 2011 amid the Arab Spring .
Hundreds of thousands of Egyptians occupied several public places across Egypt, including Cairo's Tahrir Square, holding out despite efforts by Mubarak loyalists and police to dislodge them, most notably during the infamous "Battle of the Camel". The government took a hard line, using riot-control tactics, and shutting down the internet and telecom networks. But by the 28th the protests were continuing and the police had retreated. Mubarak offered some concessions, among them was appointing Omar Suleiman to the long-vacant office of vice president. He also announced that he would not seek re-election. None of this satisfied protesters, and under international pressure and lacking the support of Egypt's powerful military, Mubarak handed over power to Suleiman on 10 February 2011 and resigned as president the following day. The 18-day uprising left at least 846 civilians killed and more than 6,400 injured, according to a government fact-finding mission's report.
The Muslim Brotherhood declared it would throw its support behind the protests two days after they began. Authorities ordered an overnight crackdown on the group, and the following day, January 28, they rounded up several senior Brotherhood figures, among them was Mohamed Morsi who would later become the country's president in 2012. Amid growing instability that day (the "Friday of Anger") as well as on January 29, a number of police officers and other security personnel were killed, mainly as part of the systematic torching of police stations and orchestrated attacks on prisons across the country, during which Morsi among other Muslim Brotherhood leaders were able to escape.
The number of protesters overwhelmed the police. They were forced to retreat from several parts of Cairo, eventually losing their grip on the country. This was mostly due to the panic among police officers during the jailbreaks and the riots. Police brutality and the excessive use of force against demonstrators also contributed to the Interior Ministry's withdrawal. Simultaneously, the government deployed the army in response to increasing lawlessness that day. The military, however, decided to remain neutral during the uprising despite a heavy presence of troops on the streets, especially in Cairo and Suez.
After Hosni Mubarak's resignation on the night of 11 February 2011, the Supreme Council of the Armed Forces (SCAF) under Field Marshal Mohamed Hussein Tantawi assumed control of the country. This period was marked by major protests calling for the end of military rule and multiple tragedies, the worst being the Port Said stadium disaster.
The Supreme Council of the Armed Forces (SCAF) implemented this decision on the 16th of June 2012 and forbid members by force from entering the parliamentary building. The SCAF also produced a "constitutional declaration" that gave the army officials, who were also not changed since the Mubarak regime exclusive political powers.
These actions were denounced as a coup by opposition leaders of all kinds and many within the Brotherhood feared they would lose much of the political ground they had gained since Hosni Mubarak was ousted 16 months before.
On 22 November 2012, after granting himself the powers to "protect" the constitution-writing committee from dissolution by the court, and the power to legislate without judicial oversight or review of his acts until a new parliament is elected, Mohamed Morsi followed his decrees by making an effort to push through a referendum on an Islamist-supported draft constitution—one that was drafted by the constitution-writing committee that was elected by the post-revolution parliament.
The move was criticized by Mohamed ElBaradei who stated "Morsi today usurped all state powers & appointed himself Egypt's new pharaoh" on his Twitter feed. The move led to massive protests and violent action throughout the country.
A youth group known as Tamarod, Arabic for "Rebel", collected 22 million signatures calling for Morsi to step down.
By 30 June 2013, on the first anniversary of the election of Morsi, millions of Egyptians flooded the streets of Cairo with thousands of protesters surrounding the presidential palace in the Heliopolis suburb demanding the resignation of Morsi.
A military source claimed that the number of protestors reached as many as 33 million making it the largest in Egypt's history. The events escalated forcing the military to announce that it would intervene on behalf of the protesters.
On 3 July, the Egyptian Armed Forces, headed by Abdul Fatah al-Sisi acted on its 48 hours ultimatum to intervene "on behalf of the people", ousted President Mohamed Morsi, suspended the constitution, appointed the head of the constitutional court as interim leader and called for early elections.
Violent clashes erupted in the aftermath of the overthrow (referred to by some media outlets as the Egyptian crisis) following the 3 July 2013 removal of President Mohamed Morsi of Egypt by the Egyptian Armed Forces amid popular demonstrations against Morsi's rule.
Prior to the anti-government protests, many pro-Morsi protesters amassed near the Rabia Al-Adawiya Mosque, originally to celebrate the one-year anniversary of Morsi's inauguration, but in the wake of the overthrow, their message then changed to call for Morsi's return to power and condemn the military, while others demonstrated in support of the military and interim government. Deadly clashes erupted on several days, with two particularly bloody incidents being described by Muslim Brotherhood officials as "massacres perpetrated by security forces."
On 24 March 2014, an Egyptian court sentenced 529 members of the Muslim Brotherhood to death in the wake of an attack on a police station. By May 2014, approximately 16,000 people (and as high as more than 40,000 by one independent count), mostly Brotherhood members or supporters, have been imprisoned since the coup.
Until 2015, attacks and bombings against police by unidentified armed groups and members of Muslim Brotherhood continued, as well as police operations, with more than 300 victims.
General Abdul Fatah al-Sisi emerged as a massively popular figure in post-coup Egypt, and he eventually declared his candidacy for president in the 2014 elections. According to results from the Egyptian elections authority, he won 96.9% of the vote, rivaling numbers reported for Hosni Mubarak in periodic elections and referendums during his reign as president. Nonetheless, al-Sisi's election was widely recognized internationally.
https://en.wikipedia.org/wiki/Egyptian_crisis_(2011–14) (Links to an external site.)Links to an external site.
