MISCONCEPTIONS IN ARABIC DANCE by Amani

Misconceptions in Arabic Dance

by Amani

Amani

The identity of each civilization manifests through arts in the form of music, dancing, costume designs, jewelry and drawing and handcraft items.

Sometimes some new authentic flavors and elements are due for adding more authenticity and beauty to the original source. This is called Development.

Sometimes the new additions go with the authenticity to the world of oblivion. It is called Devolution (decadence).

New lines, new identities, new concepts are the results of the admixture and interaction of two civilizations or more. This process is called Acculturation.

Unfortunately what is called “fusion” in the recent scene of Oriental dance is more of a ‘copy paste’ of dance steps just like an incompatible puzzle on a panel. Rare are the essays that have succeeded to combine various disciplines in a new aspect.

The new communication technology in its entire means has abridged the years into moments. As with many things in the world, technology is ‘a two sided coin’. It helps the wide spreading of  Arabic (oriental ) dance around the world, while a chaotic mangled status takes place, sometimes for commercial purposes.

This is the fact of today’s oriental dance but we are lucky enough that a few rare, educated artists in the Middle East remain and hold the old genuine treasures of this art. 

THE CHAOS
The absence of regulation and control of this art form has opened the door to each one who presents him or herself to speak as a ‘Master source’: to teach, to debate and to argue about oriental dance, its history, its styles and so on without a reference, a real background or a critic behind them or acceptance of any critical judgment or adjustment from learned Masters of the source who are rare.

Nadia Gamal

Some who are of the countries of the source have void background, are presented as teachers, using your love to dance for profitable goals. 

In general, everybody is stating and teaching whatever he or she wants: sometimes laying on a reference, sometimes not. The many dancers who are looking for knowledge believe in those statements just because they are looking for a reference to lay on it.

I will give you an example of what I myself have witnessed.

It was summer 2003 or 2004 when an American dancer was visiting me at home with her Lebanese husband. She was excited to show me a ‘duet’ dance choreography offered by her and her friend. I could not watch the dance for more than 30 seconds. It was odd.  

She asked me, “What do you think? “

Me: “well, it is a beautiful try but there is no compatibility in all the set. The music is Dabke, the dance costumes are Fallahi and the folkloric dance style is Saiidi”

Her: ‘’But it is XXXX’s choreography and she is considered the ‘one of the biggest icon of oriental dance’ in the US.  She has influenced a lot of dancers.’’

Lebanese Husband, “See, I told you this is wrong, you didn’t believe me. “

The dancer by Wajih Nahle

Also, being an Arab or a Middle Eastern native or to have been raised in the Middle East does not mean that by virtue one is an expert or Master of the dance and music. 

Even some teachers or dancers in the domain of dance or broadcasting field can perpetuate knowledge and information to the world that is incorrect.

Also not every famous figure has the education and the knowledge.

Najla Ates

Here is another example that I have witnessed.

A dance competition program took place years ago on an Arabic-Lebanese satellite TV. The director was well-known in the entertainment programs. The line of judges were a mix of Lebanese and Egyptian teachers, an Egyptian icon of dance (whom I respect most of her achievements) and the director himself. The seven dancers had to compete on Saiidi dance. I really felt terribly sorry to see the dancers struggling to dance Saiidi style on Bedouin music. Only two of the music tracks were actually Saiidi. The person who took the forte of selecting the music no doubt claimed to be ‘knowledgeable’ in this domain. I am pretty sure the ‘icon’ was not in charge to select the music for the competition simply because she would have chosen the Egyptian music she knows and rather than a repertoire of Bedouin Levantine music. Her only fault was that she did not react and cancel the episode, the comedy: unless of course she didn’t know any better. That then would be a major problem!

It is a pity also that the judge who claimed to be a reference in France was criticizing a candidate stating that she was not appropriately dancing on Rumba rhythm which counts ¾  For sure we all know that Rumba is 4/4. I was going to cry.

***

Another misconception in Arabic dance is that “great shimmies make a great oriental dancer”. It is sometimes assumed that the expertise of the dancer is determined by the amount of shimmies she can do rather than her ability to dance. Henceforth we should consider the dancers of Africa as the best belly dancers! Don’t they also have great shimmies? Especially that they have hip emphasis work in their dance. I don't mean that African dance is belly dance, no it is not . It's the beautiful dance carrying the wisdom of the elders of ancient Africa,  the African folkloric dances which I have seen in various African countries like in Johannesburg (Umoja show),  in Kenya,  etc. While oriental dance is the beautiful dance carrying the wisdom of the elders of ancient world of the region.

 Shimmies are a part of our dance but not all of it. This is the reason I have omitted Solo Tabla from the dance competition at Amani Oriental Festival: simply because it doesn’t show the dance, only the abdomen technique which is not enough to judge a dancer.

***

FEELINGS: Arabic Dancers not Aerobic Dancers.

If you do not keep the oriental aspect in your movements, the feelings of an oriental woman, if you don’t keep a feminine ‘scent’, a beauty and aesthetic line, if you do not interpret the music with your spirit before you materialize it through the body, you are not an oriental dancer.

Most of the recent and contemporary dance disciplines are based on techniques, unlike our dance form which fails if you cease the link between feelings and body.

This dance form is a part of the dance folklore of the whole region and is ONE in all the countries.  That is why it is called Oriental dance not belly dance. Widely known by the term “la Danse du ventre” in French “Belly Dance” in English came after Napoleons invasion to the Middle East and North Africa

***

THE STYLES

Some good efforts are made to understand the difference between styles running through recent dance scenes in the regions of the source.

Definitely, I am referring to Oriental Dance which is the common dance in the region and not the popular Folkloric dances which differ from a village to another.

The styles have been divided onto cross-country styles like Lebanese, Turkish, Egyptian and Greek style. Looking a little to the background has been forgotten. Some personal styles are commonly considered as a country style without referring to the recent handy source available.

PERSONAL STYLES ONLY

Each renowned dancer has her own style, her identity. There is no famous dancer if she doesn’t have her own style.

Many could have a style but the own style isn’t enough to be famous. It should be appreciated and considered by the audience first.

 Secondly it should be compatible with your personality, your image and charisma otherwise a dancer cannot join the list of fame. Imitating the style of a leading dancer keeps the original dancer on the list of fame. The imitator always stays out of the list, a copy.

Developing a personal successful style is difficult but not impossible and few are the dancers who have succeeded in having their own signature.

This is the general fact in the dance scene since ages.

Let’s have a fast review on the style of some Egyptian dancers: Tahia Carioca, Samia Gamal, Naima Akef , Najwa Fouad, Suhair Zaki, Azza Cherif for example. Each had her own style, her identity, no similarity. Yes- No similarity!

Is the style of Samia Gamal the style that you call Egyptian? Is it the style of today running in Egypt or being taught by diverse dance schools claiming to have the authentic Egyptian style? Of course not!

Jawaher

And what about Tahia’s style? Is it the standard style recognized as Egyptian? Of course not! What about Naima’s style? Of course not! And so on..

So there is no specific style called ‘Egyptian’

What about dancers from various countries and cultures: Katy, Suhair Zaki, Najwa Fouad, Amani (myself), Sema Yildiz, Boubouka,  Hermine, Nadia Gamal, Kawakeb, Najla Ates,   Nisrine Topkapi, Dina, etc. The same applies - each with her own style, her identity and no similarity.

So there is no Lebanese, no Egyptian, no Turkish, no Greek Styles, etc. Those terms have newly been created abroad of the Middle East. There are only ‘personal’ styles.

So we are considering as ‘General’ what is in reality ‘Personal’!

The style that has spread in the West is a style that has been created or adopted by a few teachers. Some are teaching their personal style and some are teaching that of some dancers of renown.    

 Compare it to the old dancers’ style like in the 40's 50's 60's 70’s and 80's!

The movies of ‘Golden Era’ have featured dancers from various countries of the world of Arabia. You would not recognize their origin through their dance style simply because the dance is ONE and the personal style of each dancer that identifies her, her personality and her NAME of fame.

Arabic dance is a part of oriental History and Folklore, however it holds a different concept from folkloric popular dances.  Dancers who join oriental dance scene from a popular dance background have to segregate or to separate between oriental and popular techniques. Otherwise a leak might degrade her ‘identity impact’ on stage.   

***

THE PERSONALITY

Samia Gamal, Tahia Carioca, both were students of  Badia Massabni, the famous Lebanese dancer. Did you know that their dance techniques were one, that they have not only learned the same techniques but also applied them.   What made the difference is the language, the personality.

So it is a presentation of your personality, therefore you should always keep in mind to give respect and dignity to your dance and to yourself. Any movements that degrade you and your dance are better to be avoided.

What is making the situation worse is the addition of new movements and steps to the dance vocabulary which are far from any artistic or aesthetic aspect and not considered as athletic ones.

For example:

- Big hip circle emphasis and shoving your buttocks vulgarly when you execute the movement.

- Shaking your breasts in an indecent manner instead of making an elegant shoulder shimmy

- Stomach shimmies which erase the feminine image of you.

Self-respect is the way to oblige the spectators to respect your art and your person. Seek for your style naturally. How?  It is very normal that at a certain stage of studying the dance, you need to learn and to explore various styles. When reaching professional level, try to   be YOU. Be yourself, show your personality and not the personality of others in your dance. Be honest with your feeling, show it. That is how you will find your style.

At the end I ask the oriental dance communities that are aiming to offer the genuine in dance not to generalize what is specific, simply say it by its name i,e. the style of X and the style of Y of the dancers thus acknowledging the work of those who came before us so you might also be One of those dancers or dance teachers whose work will be acknowledged in the future.

Together, let us start to trace out the recent history of Oriental dance with Love.

Amani, Lebanon, 23th of June 2017

English text amended By Marie Audrey Doherty

A LIVING WEDDING HISTORY From ADAM and EVE to the 21st Century

 The First Gnostic Monotheist Religion Traditional wedding

The Mandaean (الصابئة) 

The First Gnostic Monotheist religion

A living history

By Amani 

      This article highlights two wedding facts that are nice and interesting to know about. The first fact that I have chosen for you, does not follow the regular discipline known in the Arabic weddings and the second fact is from the oblivion.

Weddings in the region known as 'the Arab World' that extends from Morocco in North Africa to Turkey and the Middle East, has almost the same wedding discipline, from the negotiation between both families of the “fiancés” to the trousseau, the gold,  the Henna night then finally to the wedding day that ends with the 'consummation night' or The Honeymoon.

The Mandaean: a living History Traditional Wedding

Rare are the people or groups who have deviated from this discipline. A minority called the Mandaean, who prefer to call it a religious group, have made this exception! (The DNA research revealed that people of the region are almost all of the same ethnic race that has existed for thousands of years.)

The specification of this group is not only due to the subject of the wedding but also because they belong to the first Gnostic Monotheist religion on earth, Al - Mandaeyya, as it is spelled in Arabic. Their traditions are much older than those of the Jewish religion. 

 

Historically found in "the Arab world" region , this religion would have been called by different names such as 'Al Dine al Hanife' religion and many others.

Today, they live in Iraq and Iran. The Mandaean were brought by the current diaspora to various countries around the world.

They are the followers of Adam the Prophet, Adam and his wife Eve.
They are considered a living history.  Many believe that Adam and his wife Eve were the first human beings on Earth, however Adam is the first prophet on Earth and is the father of the bloodline of the prophets (all prophets belong to the same bloodline) . Different races of Human beings would have been living at that time when a prophet came to teach them the knowledge

Their Holy Book called 'Kanza Rabba'  means   'The Great Treasure' is composed of the journals of the prophet ADAM.

Later, they followed other prophets: Seth son of Adam, Enoch son of Seth, Noah, Shem son of Noah, Abraham and John the Baptist.

A young man  wearing the ritual costume praying on the strand of the river

The Mandaean New Year is on the 17^th of July of each year. This year 2016/2017, they have celebrated:

•        Adam New Year 445385

•        John the Baptist New Year 2059

Yes, their ancestors would have been of the first groups who believed in GOD, the Creator of the Universe, and have preserved their belief until today. While indeed other folks would have continued the path (converted) to other monotheist religions that came later, they can be today Christians or Muslims or Jews.

Just a small notification, the list of prophets is very long. We've had 124,000 prophets, Mohamad is the last.

Known as 'Mandaeyya' or 'Al Sabi’a, they have preserved their cultural, social and language heritage, so their religion goes back to the time of Adam and Eve-  for thousands and thousands of years.  Mandaeyya is a noun derived of the Syriac Aramaic accent 'Manda' which means 'The Knowledge' also "the salvation".  Anyhow, if no knowledge no salvation.

Al Sabi’a in Arabic is 'Sabagha' that is mentioned in Koran. It refers to the repeated religious Washing Rite they have as a fundamental element to achieve purification and forgiveness. It is a representation of the creation and the beginning of life: a new birth. It is to help the soul ascent to the Light world.

Beautiful Mandaean ladies in their religious costumes

Celebrating a religious day holding the Myrtle sprigs between their fingers

Practice is as follows: Five times a day a small wash before praying. A big washing -similar to baptism called 'Tamasha' - would take place in the river or at any flowing water on religious days.

Small Wash before praying

Big Wash similar to baptism

Beautiful Mandaean Youths 

Their marriage Rites follow same steps as Adam and Eve marriage, they say. 

The first step is to check the virginity of the bride by some females that are relatives to the 'kanzabra', the big priest at the 'Mandy' which is similar to  a church and preferably on a Sunday, the sacred day. (I doubt that a similar act takes place anymore)

If the girl passed the examination then big zaghreets resounded to signal that the wedding would still take place. Afterwards the dowry that the groom would give to the bride’s mother, which would be delivered to the bride later, would be fixed as an amount. The wedding date would than be set.

Today, the Mandaean offer a real wedding party on Saturday nights. The bride wears her bridal modern gown and the groom his wedding suit.

The day after is the main Ritual day. The  'Tarmida' - who are senior assistants to the highest priest  begin preparing themselves for the ritual event by praying and washing for purification. They are all dressed in white pure cotton traditional suits. No man-made material is allowed, and the same for the grooms.

The invitees gather on the river strand or around the small pool. There is a particular amount of clean water that if exceeded it is considered similar to flowing water. 'Tarmida' down in the water, are ready for washing anyone who would like to get a 'Tamasha'. Everyone can have this blessing not only the grooms.

During the 'Tamasha', the 'Tarmida' would put a small sprig of Myrtle on the head of the person as a symbol of blessing, prosperity and fertility. Afterward the groom moved to his skeletal tent made of bamboo to meet the 'Kanzabra', the High Priest.

The Groom in his tent. Below the green belt we can see the cotton belt

Bamboo is the symbol of virility. The priest asks the groom to be a good husband, to treat well his wife, to be a good father and to avoid alcohol.

After some prayers the High Priest and the groom would move to the tent of the bride which would be made of white silk.  Silk is the symbol of femininity. White is the symbol of the pureness.

By this time bread, almonds, dried grapes, nuts, etc would be distributed to the invitees as a blessing.

The grooms would sit 'back to back' in the bride’s tent as a sign of body union. The priest put a sprig of Myrtle on the head of the bride.  Then, he would knock the back of their heads together as a sign of union of thoughts and of spirit. 

The groom with the Highest Priest " Kanzabra" joining the bride at her white tent 

When it was done the groom would release the cotton belt of the bride and the bride would release the cotton belt of the groom as a sign of the beginning of a new marital life.

Then, Henna party would start. Everybody would have “henna” dough on his thumb as a blessing.

End of the Mandaean traditional marriage story.

Honeymoon, in the oblivion

This story has nothing to do with the previous part of the article, it is an independent traditional history

What many don't know about, especially the new generation, is the honeymoon 'discipline'. 'Honeymoon' in Arabic is literally so called 'The honey month'.  This naming didn’t come from a void but it was really a 'month of honey'.

In the past the grooms’ honeymoon would have taken place in the same village and mostly at the bridal house or in a separate room at the groom family house.

Honeymoon started as of the consummation night. Virginity was not a debate in the past as a proof of the bride’s purity. The first day the bride would be taken care of by her mother- in- law and her daughters or relatives. A large variety of food for breakfast was delivered to the grooms room. After morning Shower the groom had to leave the house till late afternoon, accompanied by youths only, while the bride would stay at home relaxing and welcoming guests. No work was permitted.

Every day had a new plan ... The first day was a special day for the bride. A ritual celebration took place to welcome her in her first day as a woman.  Evening time all youth and parents would gather for a celebration and cooking. This routine would remain for a time period lasting up to a month - literally called 'A Honey Month'

Afterward the bride would go back to work, to her normal life and to her duties if she was not pregnant. If pregnant, she would be pampered to achieve a sane pregnancy period as the first pregnancy is the most sensitive and the base for future ones too.

It could be the case that in our ancestors’ wisdom the bride 'defloration' is a sensitive matter physically and psychologically for the woman.  This time period was to keep the bride safe from any exceeded sexual contact until she is strong and the relaxation helped to increase her fertility. A month was enough to make sure that she would get pregnant. 

End of 'Honeymoon, in the oblivion'

Every time I review those traditions I realize how far modern societies have become removed from their ancestors wisdom and mentality.  For thousands of years traditions have been preserved through generations and in less than one hundred years all have faded out… 

English Text amended by Audrey Marie Doherty 

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An overview about Traditional Weddings in Lebanon

Weddings in my village
by Amani

In the past wedding celebrations in my country would last for many days. The more wealth the family had they could afford to hold a longer celebration. Sometimes it would last for a week or more. No expense was spared, it was the occasion to show the family at their best.

DOWRY AND DOTTA

Tantour a Lebanese head dress worn
 by high society women at beautiful occasions

A period of engagement was usually observed prior to marriage. Subsequently an engagement celebration was held in the home of the bride with music and dance. On this day the groom offered the dowry of gold to the bride and the ring. 

The dowry brought by the bride we call it 'Dotta', and it could be jewelry, money, furniture, the trousseau of the house and even real estate. 

Dowry and Dotta belonged solely to the bride except what was dedicated for use in the house.

THE WEDDING

Everybody at the village was invited, yes everybody!!!  Invitations had to be announced at the church and at the mosque. Intermingling of men and women was a regular occurrence for thousands of years except where, during The Ottoman period, the Turks influenced few specific societies in the cities they settled and segregation in social events became the norm. However this was the case only for a short period of time. Societies throughout the rest of Lebanon retained (and have preserved) the original customs.

Amani in a Lebanese head dress worn at beautiful occasion

Every day from early hours till late into the night an open buffet was available consisting of a varied Lebanese gastronomic bonanza starting with the large diverse meze and salads, then to the main courses and ending with the best Arabic sweets - and not forgetting the hot baked Lebanese bread and the fresh seasonal fruits of all kind.  

Every day a new variety of food was on the buffet. The food would have been homemade. Yes, homemade! There were no catering services at that time! A week ahead of the wedding date women of the village would gather at the Grooms family houses, sharing their love and happiness, participating in the cooking workshops, preparing the wedding decoration and taking on the bulk of the housekeeping after the celebration ends. The village was just like one big family.

"Eh Wiha"

THE TROUSSEAU

A wedding celebration began a few days before the wedding ceremony. At the family house of the bride a 'Bride Wedding Trousseau' is shown as an exhibition. This lasted for 1 to 3 days. This was an 'expose' by the family of all of the trousseau of the bride that they had been preparing since their little girl was born. 

The hand crafts made up a large spectrum of the items - hand knitting, embroidery, ornamental and crochet, home accessories of all kinds and garments. It also included dresses, shoes, bags, bed covers, even the bridegroom’s toilette trousseau and gown and everything she needed for her future life as a wife and a lady. In some regions, especially in towns, an oriental dance costume was 'a must' as a part of the trousseau. 

While people came and went, some women would dance and sing, some women would loudly tell some wedding sayings praising the bride and wishing her a prosperous marriage. Those sayings are only sung by women. They would have a special tune to cite them. They would begin with an 'Eh wiha' and end with a Zalghoutah or Zaghareet, which is 'Lilililili '. It is the typical way in “Lebanon, Syria, Jordan, Palestine and in parts of Iraq. They are generally known as 'Eh Wiha'   , some call it 'Mahahat' like in Jordan and Palestine or 'Hahawi' or 'Hanahine' in Syria and Iraq.   

On the other corner, incense would be burning with some prayers and blessing requests.     

At the end of the exhibition, the 'Bride Wedding Trousseau' and her possessions had to be sent off in a festive procession to her future house.  The bride remained at home while her mother and aunts would take the bulk of items for her.

Selected from Palestine archive. Showing the Bride Trousseau Procession heading to the Groom house 

BRIDE PREPARATION DAY

Next day was 'The Bride Preparation Day'. We call it in Arabic 'Geali el 3arous' meaning 'Cleaning the bride until shining'.  It is similar to Henna Night.

It was the day to prepare the bride for her biggest day in all means. Only women were allowed to attend. They would wash her with Roses, Jasmine and Laurel leaves, evaporating her with incense for blessing, praying and singing the wedding quotes 'Eh Wihaa', and applying henna.  

This procedure might take place at the family house of the bride or at the 'Hammam'. Of course meals were always offered in the form of a big buffet even at the 'Hammam'.  

In my lifetime Henna wasn’t a common thing in my village. I have asked some of the elders and it seems this tradition faded a long time ago or wasn't a part of our particular traditions as no one could remember it taking place. I only remember one time when I was a child, my grandmother told me that, previously, henna used to cover the hands and feet for many purposes.  She didn't mention if it was practiced in our village or in general, although it was very common at some places. .

Drawing with henna dough on the hand 

Henna on the feet

The groom also had his own preparation day but always the focus was on the bride!  

Only men were allowed to attend. The 'Eh Wiha' and zaghareet were substituted with beautiful poetical sayings similar to a conversation among a few talented men and measured in 'Comment and Reply' called 'Erredeh and Raddeh'. 

Sometimes real poets were hired if the groom could afford the fees.

Hammam Ez Al Dine Al Dimashqui , a 400 years old Hammam 

BACHELOR PARTY

Normally most of the weddings would take place in the summer time in the outside yard (terrace) to welcome all the invitees and to have space for dancing too!!

Yes of course - entertainment made up the main part of a wedding celebration. If there's no music and dance, there's no celebration!

A farewell bachelor party was celebrated the night before the wedding ceremony took place, where all friends and families in the village were invited. Bachelor party would happen on a day when next day was a day off such as Sunday.  The bride would have her night separate from the bridegroom who would be also celebrating his night with his friends and families.

Belly dancing and Dabkeh with 'live' and 'play back' music were the main part of a wedding celebration. Sometimes professional oriental dancers were invited but at the end, the courtyard was reserved for the women of the village. Females would compete in dancing and show off their talents.  (BTW that’s how I developed my skills). 

I remember when my grandmother used to dance with the water pot on her head and zills in her fingers. She was the best ever.

Dabkeh is for everybody... hand in hand, shoulder touches shoulder, drawing a long line or groups in half circles: youth, old, females and males, all can participate in this popular dance on a Big Tabel and Mizmar live music. I bet you cannot resist dancing.

The leader of each line, while twisting up in his hand a 20 cm long twined napkin in a braid, jumps up and kneels down in a fashion that shows his dance potential and strength in a syncopated steps around the rhythm. The dancer at the head of the group has to change continuously. It is a hectic role.

When everybody was busy celebrating, the bridegroom would kidnap the bride for a midnight kiss. She joined his family with few of her close friends for an hour, than she returned to her bridal party.  

At late night or early morning the party ended- everybody exhausted.

WEDDING CEREMONY

Amani lifted on an uncovered " Hawdaj" featuring a Moroccan wedding dance. 

Come afternoon time, the bride and bridegroom were almost ready. Friends and relatives began to gather at the grooms family houses. A couple of hours before the ceremony, the group of the bridegroom parents would arrive to take the bride to the church.  On their arrival the 'Eh wiha' and 'Zalghoutah' became louder. Drinks and sweets were then offered.

A  covered  " Hawdaj " for a bride

The bride was then ready to leave her parental house. If the distance wasn’t far she would have a walk, go by car or aloft on a 'Hawdaj' among flowers and ribbons on both sides and all along the road. When she reached the Church she walked with her father across the entrance where the bridegroom would be waiting for her. He arrived a little time ahead of the bride, carried on his friends shoulders. 

During the ceremony while standing facing the altar a woman would take a needle and a thread without a knot at the end and starts sewing, putting together the bride and bridegroom suit to signify strong and blessed future ties.    

Along the church, facing the altar

AT THE GROOMS FUTURE HOUSE

After the ceremony the groom would proceed to their future house, accompanied by the invitees, to Big Tabel and Mizmar live music on the way. They had to avoid being on the same road as the bride on her way to the church (to avoid bad luck).   As soon as they reached the entrance the sword and buckler shield dance (very active) took place as a sign of strength and protection.

Tabesh El Khamireh (sticking the yeast):

At the main door the bride would stand up on a chair. On the wall just over the door she would stick, with her right hand, a yeasted dough made of plain wheat and water in a circular shape. With the side of her hand she would print the sign of the cross or places a grape, basil leaves and stick coins around the dough periphery as a sign of prosperity and fertility. Afterward she scattered coins, small souvenirs and candies over the invitees.    

Sticking the yeast 

Stepping in:

Making the first step into the future house was another 'rite for blessing'. The bride and groom, together, hand in hand, would enter stepping in backwards with their right foot for an endless marriage.

A LEG BACK or RADDET EL EJER

When the couple returned from their Honeymoon trip, the bride went visiting her parents with her husband and a big group of his family and her friends. This was another festive aspect. 

The parents of the bride had to hide all precious items at the house!!! It was the bride after all!!!!!  She would tell any of her friends to steal a specific item that she would love to keep at her new house.

It was for fun!!!  Sometimes she kept the item as souvenir, sometimes she gave it back.

This is what we called 'Raddet el ejer' meaning 'A leg back' to her parental home.

Another Traditional Lebanese head dress

This is one of Lebanon’s traditions.  Sometimes it is like 1001 nights! I remember one time we had 13 weddings during summertime. Can you imagine what the village was like?

That was the scene years ago. Our ancestors' traditions have faded with the invasion of the new lifestyle.  Today modern wedding celebration disciplines are almost the same all over the world.

Weddings take place without a story, without meaning. They have become just another hafla or gala with a bride and a groom and a zaffa.

I miss the love that used to bring people together. I miss that sense of the community being 'one big family'.  I miss my Lebanon …

Amani - 7/7/2016

 Beirut - Lebanon 

English text amended by : Audrey Marie Doherty

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