If we ever needed a lesson in Turkish dance or how to play zills or how to perform it all, well here it is! The dancer in this clip is Turkish performer Tulay Karaca.
If the rhythm is confusing here’s what Indrayu in Australia says ‘At a Karsilama workshop I attended, the teacher made the counting more accessible by “fruit salad” counting, app-le, app-le, app-le, ba-na-na (pea-ches pea-ches pea-ches straw-ber-ry) etc rather than 12-12-12-123. Worked a treat, especially at the end of a long weekend of concentration.’
This is Lebanese singer Taroub performing the song ‘Kadouka al Mayyas’ or ‘Addouka al Mayass'(المياس قدك) in a scene from the 1969 Lebanese/Turkish film ‘Essabat al Nissa’ (Gang of Women عصابة النساء). The bellydancer may be Taroub’s real life sister Mayada who was also an actress and occasional dancer. Can anyone confirm?
The film starred Turkish action man and heartthrob Cüneyt Arkin as Murad and Said el Moghrabi as Murad’s perpetually frightened offsider. Also starring was Lebanese singer Sabah, Egyptian comedian Ismail Yassin and there was also a cameo appearance by Yousef Wehbi.
Those who know heaps about the origins of Arabic and Turkish music tell me that the tune Taroub sings was originally composed by Iraqi born Mullah Othman al Musli (1854-1923) (الملا عثمان الموصلي). The tune’s still very popular in the Middle East – there’s a Turkish version of the same song titled ‘Ada Sahillerinde Bekliyorum’ and a Greek version too. If you watch old episodes of the Lebanese tv show ‘Jar al Amar’ (the show with the b/w check floor) the same song is sung by Syrian born Sabah Fakhri who made it his own. There’s also an updated version performed by Lebanese singer Melissa.
Now, back to the film which was shot in 1967-1968. As it was a joint Lebanese/Turkish venture, it was dubbed into Turkish and released there in 1968 with the title of ‘Bes Atesli Kadin’ or ‘Atesli delikanli’. In the Turkish version Cüneyt Arkin is very much ‘The Star’. Sabah’s songs were still in Arabic though. Izmir born actress Hülya Darcan starred as Ayda in the Turkish version in which many of Sabah’s acting scenes have been removed and Hülya Darcan’s inserted in order to make the film seem more ‘local’. Though this film was directed by Egyptian born Farouk (Frank) Agrama, in order to get around local quota requirements in Turkey, the Turkish version has the director’s name given as Seyfettin Tiryaki. The film was released in Egypt in 1969.
Trivia: Frank Agrama emigrated to the US and went on to direct many horror films. He’s described by the BRW (Business Review Weekly) as “…a gregarious, Egyptian-born B-movie producer turned TV distributor.” Frank Agrama was also involved in the Berlusconi tax fraud investigation in Italy. Yes, this man gets around!
Thanks again to Dr Kiss at the Horror Movie Forum. What Dr Kiss doesn’t know about his chosen genre, isn’t worth knowing.
A blast from the past from Turkey. This is Inci Adali who was a popular Turkish belly dancer back in the 1980s. In this clip you’ll see her performing karshlima, Romani and Turkish style earthy belly dance. Inci Adali’s performance is part of a soap opera shown on Turkish tv about a girl who works in the nightclub but who wants to be a belly dancer. Inci Adali plays the star dancer who gives the girl a big break and the restaurant girl dances with her to the Rabhani Brothers’ well known ‘Spectacular Rhythms’ no less. However, I’ve cut those bits out to concentrate on Inci Adali’s performance.
This is a really ‘old school’ clip from Turkey but, as there is such a renewed interest in Romany/gypsy dance, its a great clip to look at and learn from. The dancer is Turkish performer Inci Adali (her first name is pronounced Inchi). The performance is part of a film shown on Turkish tv about a girl who works in the nightclub who wants to be a bellydancer. Inci Adali is the star dancer gives her a big break.
A very quick clip of Hale Sultan a Turkish bellydancer performing at the Orient House in Istanbul. Hale was the last of three bellydancers performing during the evening. She was terrific but I was a bit disappointed as she danced almost exclusively in the Egyptian style, no Turkish/Rom folkloric, no 9/8 and no zills. Like most performers, she probably tailored her act to suit the audience, which that particular night were mostly Arabic. Many thanks to Michele Harrington for ID-ing Hale.
The music is well known to any dancer as the drum solo from the Tammerhenna routine.