The Garland Encyclopedia of World Music Volume 6 The Middle East Virginia Danielson, Scott Marcus, and Dwight Reynolds Editors Alexander J. Fisher Associate Editor Stephen Blum, Theodore Levin, Abraham Marcus, and Irene Markoff Consulting Editors ROUTLEDGE New York and London 2002Najwa Adra Goneral Charactristis of D Classification of Dances Dance as a Socal Issue in the Penineula Because much of che Arabian Peninsula is covered by desert, most people lve along she coasts and in the fertile mountains of Yemen, Oman, and the Hijaz in Saudi ‘Arabia. Economically, the population can be divided into coastal fishing communities, farming communities, and nomadic herders Although folklore polaries the nomadic and setled populations historically they have depended on each other economically and culturally. Besides supplying che sedentary populations with livestock product, the nomadic populations traditionally provided miliary protection as well. Theit self reliance, courage, strength, and generosity were admired by the urban population, and both segments valued what was defined as a tribal code of honor. ‘The mountains of Yemen, which extend into Asir in southwestern Saudi Arabia, are very fertile and extensively cultivated with small, individually owned terraces. Here the populaion i predominantly sedentary, akhough it defines itself as tribal and shares in she tribal honor code. The combination of rivalry and mutual dependence between turban and rural populations that is iaditional in the communives farther aosth is also found here. Along the eastern coasts that border the Atabian Gull, the majority of the population was traditionally engaged in pearl diving, fishing, and overseas rade ‘The development of cultured pearls in the 1930s andthe discovery of major oil reserves on the coasts and offshore pur an end to these activites. Inthe past, immigrants into the region came largely fom che east coast of Arica, the Indian subcontinene, and Iran. These immigrant communities date back centuries and have had an important influence on the dance and music traditions ofthe region. GENERAL CHARACTERISTICS OF DANCE IN THE PENINSULA Dancing has long been considered indispensable at Arbian weddings and other social celebrarions. Dancing forms part of religious and national holiday, harvest celebra tions in agricultural areas, and rituals connected with fishing and, in the past, with pearling. Small social gatherings of friends and fumily often include some dancing, Each district, and sometimes each village, has its own dances, and there ae more chan a hundred named dances inthe region. These constitute an important fall radition in which people dance for pleasure. Professional dancers, reerited from low-status social groups, may be hited to perform at weddings and other celebrations.MUSIC CULTURES AND REGIONS nouns casi 2 Men pstrmining a ‘eb’ wcdlngproceton deat, Yemen 1991. Phot by Dil Virco, 1951 Dancing is most commonly refered to in Arabic as rags, a generic crm that denotes dancing for entertainment Is alo called hind" 'song or fa’ ‘ply’. Pari re of poetty that they accompany ular gentes of dance may be named after the ‘helt meet, or the major musiealinstument used Dances may be pesfoemed aurdoors of indoors, depending on the dance and the occasion. A public squate, a threshing floor, or any open area may be considered suitable space for ourdoor dancing. At weddings and other festive events, dancing is snost frequently performed in lage reception rooms in private houses or in enclosed garden or patio areas. A large room or patio may be filled with guests seated on mattesses or carpets on the floor, with a space kepe clear inthe middle or atone end for dancing, Dancing may also take place in smaller rooms where family members and close fiends congregate in the evenings. At weddings, dancin is also pat of the processions (figures Land 2). Dut Sometimes performed on a proscenium stage in large public halls. Boh folkdancing 1, national holidays, choreographed dance! are and choreographed dancing are ofien showin on local television. With the possible ‘exception of televised. productions and staged performances, the audience actively Supports che dancers by alulaing, sounding out che chythm, clapping, or expres loud praise. However, the audience is not expected to concentrate rraly on che dane ing, Members ofthe audience may alk among themselves or walk around during any particular dance Gender Although a few genres of dance are specifially identified as “men” ot “women' wula ate performed by men and women. Ar large most danocs in the Arabian P festive gatherings, separate spaces ate usally reserved for men and women, Women dance together for female audiences while men dance together for male audiences, ven in these gender-segregard contents, however, female profesional dancers may ced or mixed depends on the particular dance, the context of performance, and local attitudes. In general, urban perform for wonen or men, Whether a dance i spre social settings are moce likey than rural settings co be gender-segregated. Dances are also likely to be gender-segregated in religiously conservative communities and fami: Tis. In some contexts women perform unveiled, with their aie loose; in others they arc filly veiled. This also may vary with the dance, the community, and individual ‘whim, Many women in the peninsula cover their hai and sometimes art of the fice when they appear in public, The practice of veiling may range From a cowel quickly thrown aver the head to an elaborate saa ar mask, eligi an expression of modestyDANCE IN THE ARABIAN PENINSULA Tout because it focuses attention on she eyes, it i alto considered bezuifal and seductive. Line dances In the Arabian Peninsula, most dancing invelg lines of dancers that define the er formance space, Parallel lines ae common, but sometimes the dancers are arranged jn a square, horseshoe, or circle, Shouldess touching dancers may sway o the music, step sideways or backward and forward, move toward each her and away from each ‘other or turnin unison. They may brandish weapons, clap, or play drums oF tam bourines. The dances in a line usually perform in a standing posiion, buc in some lances of fishing and pearing communities in che Gulf and on the southern coasts, they perform knecling or sitting as they mighe on board a boat ot ship. Line dancers are usually judged on theie coordination with cach other. When a dance event ao includes poets solo or couple dancers, their performance space is delimited by the Tine dancets, who also support chem by singing or maintaining the bea Improvisation [Asin other parts ofthe Middle East, this dance uadition is charactried by impro- visation, Consequently, there is a wide vaiety of steps and movements. Elements of dance that ate shared inthe peninsula region include running steps, sep-hops,step- together-step-hops, and stepogether-step-steps, with the last step or hop often ini- tiatng a tur, Dancers may propel themselves forward and up by pressing down on the ball of one fooe (sambs-fshion), at is commonly done in other Arab dancing. Shifs of level, such as knce bends, leaps, and strighe vertical jumping om fa feet, ae ‘common, Variations ofthe grapevine (a parte in which one footsteps sideways while the other alternates stepping Forward and back) are typical of Yemeni dancing, 3 is shaping a space with one's steps. In all parts of the peninsula when line dancers move forward, they may do so with «scooping movement ofthe arms and 1019. ‘Women commonly swing the head and loose eresses while holding the righ hand lighily on the upper chest. This movement i called nash tanawush, mmaenish (i Yemen), or rsh fin parts of southern Yernen) and is similar to the dame des chev, described by French travelers in North Afric. In Saudi Arabia and che Gulf counties, i is usually perfoemed by young gies, although in the Yemeni highlands ici more often performed by older women ro imply suffering. A woman may go inco mucus atthe end of a dance, moving out ofthe dance space and into che audience area. As she passes women in the audience, chey ululate or verbally express thei support and empathy, "The dancing of seafaring communities i characterized by large arm movements thac mimie rowing. The line dancers often perform in a kneeling postion. With the farm leading, the upper torso i propelled Forward to the Noor chem itis rased to an "upright position, with the bak staight then ie moves forward and down again. Poetry In most cases, dancing accompanies sung or chanted poetry, and the Iyries are an important clement of the performance. Some of these dances involve responsorial poetry, and some, like the Yemeni dalah or the Saudi mann, include poetic com. petition. In a competition, one poet improvises averse w asec thyme or meter then, lusing the same structure, another poet tries to improvise a beter vers. Poets who create the best or wictiest verses gain social esteem. ‘Musical instruments ‘Musical instruments asocited with dancing include the ‘lutein towns and cities and wind inseruments—such as the migmar‘single- or double-ced pipe’ and the urn ae’—in rural areas. The tania ‘bow lye’ lends its name to a number of dances performed in the Gulf countries. When-weh instrumentalists ate involved in: MUSIC CULTURES AND REGIONS 1 dance event, the dancers give them small gifts of money at the conclusion of the performance A numberof dance genres are accompanied by drumming alone or by drumming and chychmic hand clapping. Clapping along with drums, in double time or in poly- thychn, produces an effec that has been likened tothe sound of castanets. Rbythaic foot stamping marks time in some dances. Frequently, objects cha jingle with the movements ofthe dancers are worn to intensify the percussive effecs; examples include ankle bracelets and small metal bells worn on the dances’ beles. In healing dances (2ir) along the coasts, dances tie goats’ hooves to theie belts for this purpose. Clothing and accessories Typical, performers wear their best clothing (except in devotional dancing, as noted below). Dancets often hold daggers, swords, or bamboo poles that they wave while dancing. CLASSIFICATION OF DANCES Danees of the Arabian Peninsula are clasfied locally as exhibition dances, dances relied to work, dances purely for entertainment, afr ‘healing dances’, and dances performed during mystical (if) rituals. A few are described inthis section. Each of these dances has « number of variations, involving differences it movements nl steps musical and percussive accompaniment, the presence or absence of poetry and the identity ofthe performers. Whereas one dance may be performed in mixed groups in 4 certtin community of ata particular time, ic may be performed only by men or by ‘women in another contest, Sometimes, aso, particular social group may be asociated cha dance, Exhibition dances Some of the most highly esteemed dances in the Arabian Peninsula ate exhibition ances performed by men only. These dances ae often aseociated with warfate Inthe past, come were performed in conjunction with riding, of with agreements establish ing peace beeween warring groups. When poetry is included, is subjects ate valos, heroism, and chivalry, These dances are performed on religious and nacional holidays as well as at weddings and on other festive occasions. In the Hadramaut of southern ‘Yemen, men traditionally celebrated an ibex hunt with dancing, For both performers and spectators, exhibition dances represent he chivalry sscength, and courage asociaed with Arab eres, These dances area source of pride, ‘whereas many other dances ofthe region ate derided as frivolous. Even heads of state ‘openly participa in exhibition dances with no loss of prestige, Whe is admired most is the cohesion and interconnectedness of the performers: these dances manifest & sense of social solidarity. Allowing for regional variations the exhibition dances of the peninsula can be loosely divided inca ab‘arda,petfocmed in Saudi Arabia and the Gulf countries, the Yemeni bart. The cer al-anda is desved fom a verb meaning co preset, exhibit, ‘or expose and also connotes width and expansion, which is metaphorically represented by the long lines of men facing in the sume direction as they dance, The tem ne ‘connote sil or excellence. Al-arda Alara is also known as resi or gelaza in Saucli Arabia: al-‘erde a-harbie ‘war ‘anda in Kuvait, Bahrain, and Qatar: abaya inthe United Arab Emirates: and al- tazha in Oman, Most commonly, this dance involves 690 lines of men, touching shoulders, who chant responsorial poetry while carrying swords, rifles, or chin bamboo canes, The dancers step gracefully and lightly sideways or backward and forward co the beat of the drum while waving theie swords ot sticks. In Oman, the oo lines approach each other slowly and bow low before retreating.con: 3 Men performing berin aMabj aaj, Yemen One of de owo drummers can teen on the kf, Pho by Daniel Vario, 79, natn Men karing » ww ba’ The Aso ae seo a height Kes are held Inthe right und shal is nthe le Photo by Dani Vaio, 197. DANCE IN THE ARABIAN PENINSULA 'A few dancers ata time leave the line o improvise duets or solos. This impro= visation is more expressive than the line dance and oficn inchides shimmying the shoulders and corso. When the dance is well under way, young gils enter the space bheween the lines, swinging the hair, head, shoulders, and upper torso in nash. In some cases, a man holding a sword or pole wil dance facing 2 gil, marching his arm movements to hee singing The poetry of ab‘arda consist oftadiional verses that were once used t0 goad men into participating in eaiding forays, These verses address erbal honor and is ideals and eulogize herocs and courageous women of the ibe. A lead poet dictates a verse or hemistich to one line of dancers, who repeat the verse. He listens to and like a conductor ofa chorus, then moves co the other ‘encourages the recitation, euch Tine of dancers. The fervor of thie poetry is said to intensify the dancers’ emotion. Alana is performed during religious and national holidays. Class and other status distinctions are crac in this dance, for political leaders perform alongside the poorest members of the population. While performing, the dances leave off thet rer cloaks, which indicate heir stars or relative wealth. Large, public dances are advertised in newspapers smaller groups perform at weddings and other farily celebrations Bara igutes 3 and 4) is che sgnacure dance ofthe highland Yemeni ibe, a tribal region is associated witha particular beat, style of dancing, and steps. Like al cach ‘anda, bara” represcets chivalry and tribal honoe Bara isa lively dance performed to deums and sometimes to the chanting of tribal poetry, Ie involves anywhere fram swo to a hundred dancers ina cide. Dancers step-hop or move in grapevine fshion to the right and lf; chey close in vo che middle with a Houtish, scooping the space before them, then turn hack wo dei original places. Dancers hold daggers, which they wave above chit heads. Asin ala, che steps are ‘pot complicated, but coordination withthe ather performers and with the music wakes, considerable skill. Also ike al-arda, chis isan egalitarian dance in which dignicaris, and heids of sare paricipate Work-related dances Seafaring ‘A number of dances in dhe Arabian Peninsula were traditionally related to subsisence activities, Perhaps che most d ind merchant boats and ship, performed nowadays pucely as encerainment. Some sea dances have matic were the sea dances of pearlingMUSIC CULTURES AND REGIONS Every phase of the pearling process was associated with a genre of poetry, and most phases were also occasions for dancing. ‘the same names a land dances but differ in movements and poetry: most sea dances are variations on the dancing already described, The songs for these dances are almost slays mournful, and the dances are slow and e and 3 chorus of men, kneeling on the ground and making large With their arm in imitation of rowing. ‘These arm movement lead the upper body forward, up, and sideways Every phase of the pealing process was asiociated with a gente of poetry, and most phases were ako occasions for dancing. Ar the beginning of each pealing season, ie took thece to fous days for the boats to be readied for the sea, During these days dance called alxinint was performed to mournful poetry. This dance was accompa ‘by hand clapping and the urnay, reed instrament. On board ther boats, pearl, divers would dance variations of che (iin the evenings. Dancers kneeling in a line strike the floor rhythmically wich heir hands. Then, with elaborate hand and art movements, they come up t0 a siting positon, Afer some time, they repeat the process, again lowering the upper body and striking the floor with cher hands. Mean while, a soloist may stand and improvise; sometimes he dances while holding the anchor. Polling up anchor also occasioned dancing, When the peatling vessels were ready co reuen (0 shote, a dance called al-ordaal-babrina “he sea ‘ara! was pes~ formed, They would mect in a designated area wo awaic the artval of the princes wee, then celebrate For two oF ehree days. Two lines of men chanted poetry while lines of drummers stood behind them and sword catiers stood behind the drurnmers, Local leaders (dnyhhs) and sometimes the prince himself would participate in a sea ‘ard Large merchant ships, which had mote space and afforded more leisure time, would sometimes take along a professional singer and mascer of ceremonies (nahin) who would organize nightly music and dancing events Agriculture In Bassa, frm workers thresh wheat using rhythmic work-related movements that are locally cassied as agricultural dances. Men, exttying a palm frond in the right hand, circle a large pile of wheat. To a musical chythe, chey take curns beating the ‘wheat unt itis all threshed. The process of eracking wheat ro make 2 special dish, aris, is an oceasion for another ofthese dances in Bahrain and Qatar. The wheat is placed in along wooden container and crushed by being pounded with large heavy stick, Dancers—men and women—take turns rhythmically pounding the what while moving their bodies backward and forward. Lightly stepping on sorghum seeds in the process of sowing constitutes dance in the northern highlands of Yemen. The eve- hings after harvest also provide an occasion for dancing in parts of che Arabian Peninsula dive. Most involve a solo dancer Entertainment dances ‘The vase majority of dances in this region—only a few of which can be described shere—are performed purely for entertainment.DANCE IN THE ARABIAN PENINSULA he wadional dae of Sn teeta Yemen, and i rounding com imi ba couple dae cle dau’ Theo dancer peo tc par ach part charred by a gly fier bee than she preceding ne I che St pe the dancer, side by sd, ein a square on the Hor erough series of weigh si panctued by smal quick cles drawn by the lef fot. hl slightly above Boor Khel Dancers remaining side ys, may tum and ef with tt ack wo the seed autinc. (By the 18 the more accompli performers were omiting hit) fc pf the dance condeing it be too dow) The second par has a far bea J and more comple footwark, Again, a square sound onthe Roo, but no this is done wih conierbly nse Howth and wt fae tume and he xeon oft body emai oar A goo dancer barely couches the for daring hi ond segment. Theat paris alo fa but he eps asimpl cideway weigh hi. When te men perform dew’ thy face ech other and ove aru eachother insted of dhncing sie bys. They hold daggers in her gh ands and hold cach ote ee hand. Some men also shitmy the upper body This dance usualy pesfnmed in geder-spegtel cones but maybe pet formed bya man and woman in the nimacy ofthe bomen both women nd ime’ dancing, partners ate chosen fom cle cada eave. The dance com pie sung potty and id music in ews and hey and mize (See Some Porrav is Ataian PMs. and ALoNINK™ AAV: POETRY AND Mose sav “The dancing pred to ge, age of musc shat has become poplar n vais Bahrain and Qua bromine ofthe da f San init hy ova foc and wig shi ‘Sharh a dance Rom suthein Yemen, cently compete with dain populating Ak couple dane, eis more expansive and mote fewing chan da The dances begin x opposite ens ofthe perfrmanc space and appentvo gide evar nl shen past cach fer, ering 18D depres when they reach the fr nd ofthe space They Sep forward with on fos, then pres downvad on he bal of th other on ag, the amb) eo propel thensces up and forward Before eamping the ward foot lightly then they reper this step sang on che cher Bor. Thee hipe and Shoullen may ovay withthe movement This ance and light, Depending on the coment and he communi i maybe poe by aman and worn, two men tr owe women In one ition, aun lend woman bythe hod a and around 2 Space formed by curved ine of men. The men inthe ine tke ns dancing wih tee Seve dances acompanya gene of pocty known asin: In Sau Arabia 1 ines of nein men fc cach oc A poet wands between them and dias ‘erc hich are then peated ech nein os much nthe manner of aan {Mhough the pocy wei of a iene nen alam, pot and drummer Temi thetic, The lines dance move ther hack In undlting ovement Un sti alo cle maim wo cr thre weed women dane betcen tw He of men The songs compel entempornecely, pra te bear and wry of tox Dancers may teaingl snatch an ante of elothing from he ine of men 0 Be reece with woken i To Suudl Arabia and Yemen, the mother ofthe bride othe groom dances with a ty on ber bead, On the my ae leans aranged ina cee sound incense, Spies, lowers and ees I considered balck ibe candles donot emai i for the duration ofthe dance. ‘An appealing wadioal dance performed by women in cts towns log he Gulf sche ir “hobbyhore dane. The chorus ie made up of cde of women plying anbourines, A dances wearing 2 cada owe” performs ache mile 1 thie ice. Sometime noe dnc, des ara man, ed the “bor aonMUSIC CULTURES AND REGIONS AL murida is performed by women in Qatar and Bahrain, In this dance, no ‘musical or percussive instruments are used: the beat is maintained by fase stamping. “Two lines of women stand shoulder co shoulder and hand in hand. The ewo lines lkernate singing, while the women lift a foot ro step forward and back, Aer «wo of three verses, the first line moves forward to meet the second, then teteats while the second line comes to meet i ‘Dances imported t0 the peninsula by immigrant communities include altiog, a genre performed on the Red Sea cous as well as in the Gulf countries. This dance, ‘which consis of slove walk in an open circle, has no leaps ot deep ke bends. The dancers step forward with a slight tutn, step back, and sometimes execute a complete turn, AL dances, performed by men and women to pentatonic music, are emotive, “The songs speak of separation and sorrow, andthe musical instcuments are the surndy and drums. Some of the lyrics contain Swahili expressions, indicating an East African origin Another import is a-bubban, which is performed in Kuwait and che United ‘Arab Emiraes by Iranian immigeants. This dance is named after ehe bagpipe, its signature inserument, and i 3 popula that profesional groups are hited to perform i ac weddings and other celebrations. A line of women faces a line of men, with a large number of musicians in the middle. Men begin the dance by singing (the women in this dance do not sing). The /ubbn follows the singers, playing the riclody associated with the song, and then the drumming begins. The movement begins with the line of men retreating two steps while the line of women advances two steps. Then the women retreat while the men advance. This pattern is repeated forthe duration of the song. The lines then take two step sideways. The payer of the largest drum begins to dance between che so lines. Aer this, a woman holding handkerchiefs in her hands goes into the middle and begins to ewirl. A man joins het, moving with bene knees, shifting his weight forward and back while pressing com his instep. "New dances are continually being added to individual repertoies. Those who are ‘exposed to Western dances or Egyptian belly dancing through television or travel ofien reach these dances to ther fends. Thus contemporary urban celebrations may include the latest Western popular dances as well as taditional dances, Dancing at healing ceremonies, zar Zar is s healing ceremony intended to exorcise jinn (spitts) from people who are bolived to be possceted. Zar dancing frequently ends in a trance. Variations of 2dr are widespread chroughout the region. In Studi Arabia 2€r dancing is linked with simirt poetry. On the Gulf this dancing is named after the ranbara ox nan "bow Iyre’ because ofthe importance ofthis instrument to it. There are a numberof varie ations, some of which are performed only at healing cer leo be performed at celebrations. A defining characteristic of samba is that (as noted above) the dancers wear beles hung with goats’ hooves, which ratle when they stamp their feet nies whereas others may Religious dancing Devotional dancing, when combined with praise of God and the ritualistic repetition of the names of God, is thought co lead to inner harmony and oneness with God. Ie is performed during Sufi mystic rituals, On these occasions (in contrast with occasions when dancing is performed for entertainment), the clothing worm is plain and simple. Devotional dances vary according tothe Sufi order. Movements may involve a simple swaying back and forth, small sideways steps, or shimmying and leaping. Leaps may be accompanied by sensational feats such a8 piercing the body with a sword or some ‘other sharp abject. IFno blood flows or ifthe wound heals quickly during the ceremony itself, cha is taken as a sign of the devotees deep faith. Religious orthodoxy frownsDANCE IN THE ARABIAN PENINSULA ‘on Sufi rituals and they have declined or gone underground in recent yeats because cof increased religious conservatism in cis region. DANCE AS A SOCIAL ISSUE “Tradisions relaced co dancing in che Arabian Peninsula are relatively unknown in the ‘West for @ number of reasons. For one thing, the peninsula—unlike Southeast Asia ‘or Europe—has no established eration of classical cheater chat would ave intersted. cay historians of dance. Second, belly dancing, which has capeured the imagination of people in Europe and che Unired States, was nor traditionally performed in the peninsula. Third, mose dancing in che penisula is informal entertainment and takes place in or near the home and a traditional evening celebrations, which foreign visors are not likely to attend, Fourth, in some parts of the peninsula dancing is important ac Festivals associated with visis to suis’ shrines, and such visits are no widely pub Ticized, because religious leaders tend to disapprove of them. Finally, Arab scholars rarely write about dancing, whichis considered secondary o poetry and music and indeed is often regarded as frivolous play unworthy of scholarly attention. When Arabic reatises on science, mathematics, and medicine were anlated into European languages, there were no comparable works on dancing. Prohibitions against dancing ae sinificane social isue. In dhe late 1940s, for ‘example, vb dancing was banned by che euling imamate of North Yemen, ostensibly for cligious reasons but most likely bocause some of the poetry sung at dance evens was critical ofthe imamate. The ban did not stop dancing: sevall ad was developed that could be cated unscen under lose elathing: people stuffed heir windows with cushions to mule the sound of music er danced in windowless storage rooms that had been ernsformed into reception rooms; and the ban was not enforceable in cura areas. Ironically, Imam Ahmad, who ruled North Yemen from 1948 w 1967 and ‘maintained the afcal ban, is rumored to have been an exellent dancer, and fond of cb, Neverheles, as « consequence of this ban, a number of musicians lft San foam music schoo in the southern Yemeni towns of Hadramaut and Aden. In the recent past, negative influences on dance have included a spreading religious conservatism thac disapproves of dancing, especially mined-gender dancing. This es inc a larger debace on the legality of dancing in Islam. Some eeligous scholars argue thar dance, like msi, can excite the emotions and lead people ro improper behavior. ‘Others believe chat dancing in itself is permitted. In practice, one finds a range of inerpretations, with most Families in she region peemitting dancing in prescribed Poltcal and economic changes have resulted ina decline ofome dance traditions. “Television has also influenced practices. On the one hand, watching television means le for dance: instead of dancing during afternoon and evening visits, people are now likely watch televised serials. On the other hand ‘choreographed versions of tational dances are often presented on television 28 “folk” dances. In some cases, such presentations have expanded dance repertoire by enabling people to learn and perform dances of ether communis. la the final analysis dancing, inthe Arabian Peninsula remains alive and wel, that people have less time a REFERENCES ‘Ae, Nou 1982. “Quy The Ti Cone 098, “Dance nd Gane Viulaing ‘ein she Cen Higa fhe Yee “Til Met in Pgh Yue” Vil ‘sb Republic” FD seat, Temple Antvpigy V11-255-101 Unive: An A 1978 "Leah apn ae 1993. "Tia Dania a ere gi ey al Oberon on aol Sep co Unity” fara Mende ng Song Danae he Gl). Amt Maslin dele Mebicrends ORDAGL-VOS, aloe 7125-138MUSIC CULTURES AND REGIONS SLA, Rib 1986, Alomar a a PA Arb rad: A Womens ane nthe Aran Gul). APM a shebine 19105-129 ar, Ain 1980. "The Dane" wd he Cao of Arabia Basa: Hoopes Min, Sti Abd bbe 1978 “Macy ei fl a al Aho Eas oy aah BF (Sorc nd ans ‘he Flare ofthe Arian al he es ‘al Fall Dane Ab Th a I} 268 a, hk, thin. 197% aa a tie “tno dia faye (Kova Folk Danes A Tena Se). Kale shu,