Choreography: Dina Tata

topic posted Fri, April 18, 2008 - 3:15 AM by  Nuria
Hi, this is also a choreography tribe, so I would like to ask everybody that knows the song Dina Tata. I find it a beautiful piece of pop which really gets me party mooded. Amar Gamal dances it on the dvd "the exotic art of bellydance", I've seen a minute of her choreography on youtube and it really matches the mood - there is another clip of a girl dancing with cane but her moves seem too small for me, they are good for the "taksim", but for the beginning I prefer Amar's temperamental approach But, do you call it a taksim what starts at around three minutes? It is kind of accordeon-taksim but the beat continues. It's endless which for me kind of draws the initial temperamental mood out of the song. I'm thinking of editing/shortening it, but even though, after that "taksim" finishes, they don't bother to pick up the initial theme but the song finishes surprisingly, cutting it short.
When dancing to it, do you perceive this as a problem? How do you put the two moods together? Would you also cut that taksim (is it a taksim or not?) or not? The taksim plays around and seems to ask for a lot of hipwork or core-moves without a lot of travelling, at least in my interpretation. How can you dance it as a piece that belongs together and not like two separate pieces?
youtube.com/watch
youtube.com/watch
posted by:
Nuria
Germany
  • Re: Choreography: Dina Tata

    Fri, April 18, 2008 - 1:37 PM
    this is my favorite interpretation
    youtube.com/watch
    • Re: Choreography: Dina Tata

      Wed, April 23, 2008 - 9:08 AM
      I agree with Michelle, this is a beautiful interpretation of the accordion. When working with an Oriental piece of music, the basic goal is to follow what the instruments are doing. When the entire orchestra is playing, movements take up more space -- you should be traveling and focusing on the tempo. When each instrument gets its little solo, stop and highlight that particular instrument with a part of the body that it sounds like. An accordion has a bellows like our diaphragm, so I like to highlight belly work, umi/omis, figure 8's with that particular instrument. When the accordion is done and the orchestra comes back in, travel around with bigger movements again and try to catch the accents you hear with chest, arm, belly or hip accents while you are traveling. It's a lot to think about, but makes for a beautiful performance where it seems like you are playing the music with your body.
      • Re: Choreography: Dina Tata

        Wed, April 23, 2008 - 2:54 PM
        Yes, accordion is really for hips and abs. I guess I am just a little annoyed with the composer that split a song in two entirely different parts, I miss the round thing about that Dina-Tata composition like you have a short or medium length taqasim and then go back to the initial mood/style - this would be a scheme I'd much prefer.

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