Orientalist Dance: Paintings & Travellers’ Accounts, Alkis Raftis – ISBN 960-7204-20-4 – Dora Stratou Dance Theatre, Scholiou 8, Plaka, GR – 10558 Athens, Greece. mail@grdance.org - www.grdance.org - Way of Life Publications, Solomou 1, GR www.tropos-zois.gr

“I thought I would dress in baggy pants, big shoes, a cane and a derby hat. Everything a contradiction: the pants baggy, the coat
tight, the hat small and the shoes large.” – Charlie Chaplin

“Usually danced by men only, these (cane) dances included weaponry skills as training for battle. Performed in formations, the dances often included pantomime of battle strategies. Weapon dances were realistic in character and were performed as:

1. choral dances using opposing group movements to simulate battles, or
2. chain dances in which the first warriors attacked and the rear defended.

“The dances, performed for long periods of time, induced euphoria in the men and ended with the leader being elevated or thrown into the air and caught by the group . . . Sword dances have survived since early times. Likewise spear and stick dances such as the Russian spear dance and Native America and Hawaiian stick dances are found around the world . . . “ History of Dance; An Interactive Arts Approach by Gayle Kassing – Dance Themes, p. 32 – http://books.google.com.

Various Forms of Cane Dances Left Image Source: www.folkgroup.org.uk, Right Image Source: www.janeresture.com/micronesia

In English, the word “cane” derives from biblical Hebrew Qanah; often translated as “reed.” Similar to bamboo, the cane plant historically has also been used for baskets and wicker furniture. Different kinds of canes may be fashioned for a variety of purposes, such as tools, walking sticks, walking aids for the disabled, weapons, and corporal punishment. Also used as measuring rods, walking sticks or pens, in Biblical Palestine “cane” properly refers to the giant cane, which grows in immense quantities in the Jordan valley along the river, its tributaries, and at the oases near the Dead Sea. As walking sticks in North America, disabled or blind persons typically use canes curved like judicial canes, which are often made of wood, aluminum or carbon derivates.

“Well, I’m using a cane, so what? So what if they shot me sitting in a wheelchair? That’s life!”  Dick Clark

Cane Dance Source: www.caribbeanspectacular.com

“ . . . as long as there has been theatre, there has been dance within the theatre. The ancient Greeks incorporated dance into many of their plays. Broadway as we know it today began in the 1900’s where it was just beginning to make an impact in New York City culture. It was flippantly disregarded by critics and more ‘serious’ theatre-goers . . . “Black Crook,” regarded as the first Broadway musical, opened to a curious crowd just discovering the interesting fusion of ballet with dramatic acting. George Balanchine was one of the earliest recognized choreographers of Broadway dance history. After Balanchine, those trained in theatrical art dance began to try their hand at choreography. These more unconventional creators of musical art were known as “gypsies” within the theatre world and soon they were dominating the market . . . Many consider Bob Fosse the greatest gypsy of all, who developed the use of props—canes, top hats, and gloves—and incorporating sexuality into his routines. http://dance.lovetoknow.com/Broadway)

“Thou has brought me no sweet cane with money, neither hast thou filled me with the fat of thy sacrifices: but thou has made me to serve with thy sins, thou has wearied me with thine iniquities.” Bible

In our Danse Orientale, the Saidi cane dance comes from Upper Egypt. Saidi dance is energetic and earthy, using the 4/4 Saidi rhythm, and one or two sticks/canes. Tahtib is the exclusively male dance, which simulates combat using the sticks. The women’s Raks Assaya is very feminine, joyful and flirtatious. The women’s dance often incorporates a lighthearted imitation of the Tahtib, as a way to make fun of the men.

Lady with Cane Source: dance.lovetoknow.com

Cane and stick dancing can be done in both folkloric and cabaret style performances with the use of bamboo, wood or metallic/beaded props. These dances typically involve folkloric steps and hops in either genre with a natural not pointed foot, lots of twirling overhead and to the sides, banging the stick/cane on the floor; and balancing the prop on the head. Later it can be used to pull people up from the audience to dance at the end of the show. All these elements require practice but the final product is worth it. If a dancer wants to really make an Egyptian audience happy, a raks assaya dance will surely please. They appreciate the efforts to understand their culture.

If you get mad at your boyfriend, cane him. If you are getting old, grab your cane. And if it’s December, enjoy a candy cane!

“Shimmy from the Heart” – jherico@cox.net 9/09

*This is a134-page illustration collection of Orientalist Dances sent to the writer by Mr. Raftis, President of CID, a UNESCO worldwide dance organization. Readers may want to investigate its offerings: www.cid-unesco.org.