Hi Ellie,

Thank you so much!

I would be interested in more info about each part but I really think you should post it here: it might me interesting to everybody.

Ok!! Here it all is typed in full! [as it appears on my pages so spelling and punctuation as written]

FIRST PAGE:
The basic sections of the ashra baladi repetoire:

The ashra baladi began as a rural dance for men. the 'Fitiw' or the macho man of the village dictated the sections which would enhance his dance which is usually performed with a stick or stave.

1.) Dolab. This is a lively musical introduction to capture the audiences attention in preparation for the dancer.
2.) Taqasim Hor. The lead instrument usually accordion, sometimes Kawalah (a deep sounding flute) or sax begins a solo improvisation. A sad redition this taqasim connects the audience with deeper feelings and emotions. This usually evokes utterances of reverie such as 'Allah Allah' and 'Ah Ah'. Some melodies used for this section are Ya Rab Tobah, Law Kan Li Amal F'dunia.
3.) El Wadah El Kibirah. This is where the Fitiw begins to dance in slow earthy movements to the rhythm of el wahdah el kibirah. There are many songs that are laced with this rhythm such as Talatah, Talatah W'bas, Amint Billah, Hassan ya Khol Egininah and others.
4.) Tet Bati. The slow tet is a repetitive beat emphasizing one note in a bar of muci (tet). This is sustained until the dancer signals the musicians to move to Fast tet. The dancer's movements become faster and more enhanced especially as he moves into the Tet Sari'i.
5.) Tet Sari' The fast tet is where the dancer shows his skill and expertise. The musicians are interweave popular melodies within this fast rhythm.
6.) Engrarah. 'Engrar' means 'pull' or 'extend' and is simply a further extension of the tet with the tablah adding more colour and pace to the rhythm.
7.) Aflah. To finish, the dancer either signals for a faster rhythm where the movements are speeded up or the dancer winds the music down to a final stop.

The traditional Ten sections of the repetoire are 1.) Dolab 2.) Taqasim Hor, The wahdah el Kibirah which consists of 3.) Law Kan li Ammal Fiduni 4.) Talatah Talatah w'bas 5.) Amint Billah 6.) Hassan 7.) Tet Bati' 8.) Tet sari' 9.) Engrarah 10.) Aflah

As described by Al Sheikh Taha

SECOND PAGE

The female repetoire of the 'Ashra Baladi'

The main difference between the male and the female ashra baladi is the addition of the awaadi. Tailored specially for the female dancer the Awaadi is naturally feminine and the melody and movements describe lyricism not found in the male baladi. The word Owood is the name of the reed that sways in the waters of the nile.

1.) Introduction. Here the female dancer uses a lively and captivatingsong or piece of music to introduce her entrance. Pieces like Bambi or Raqset Badi'a were very feminine pieces where the dancers also encouraged the audience to sing along.

2.) Taqasim Hor' The lead instrument, usually the accordion, sometimes Kawalah (deep sounding flute) or the sax, begins the solo improvisation. A sad redition, this taqasim connects the audiences with deeper feelings and emotions. This usually evokes utterances of reverie such as ‘Ah Ah’ and ‘Allah Allah’. Some melodies woven in this section are Ya Rab Tobah and Law Can Li Amal F’Dunai.
3.) Awady. After the solo taqasim the tablah begins with a steady rhythm sometimes punctuated with stops (sakkaat). The female theme is described by the music where accordion and tablah interact with the movements dictated by the dancer. This can go on for however long the dancer needs to complete her expression.
4.) Tet A shift in mood accurs with the burst of the Tet which indicates a more firey section where the dancer can show the best of her skills. This uses a quick repetitive rhythm that moves on to a high pitch. The Tet can sometimes begin slow ‘Tet Bati’, which builts the drama when it changes to fast Tet ‘Tet Sari’.
5.) Engrarah. ‘Engrar’ means to pull or extend and ius simply a further extension of the Tet, with the Tablah adding more colour and pace to the music.
6.) Aflah. To finish, the dancer either signals for a faster rhythm where her movements are speeded up or the dnacer winds the music down for a final stop
7.) Solo Tablah. In more recent times, it has become popular to include a solo Tablah improvisation within the dancers programme.

As described by El Sheikh Taha.

My final word:
I have always been taught that the introduction is called the Tahmillah or Tahmellah. I have been led to believe that the Sakat can count as 1 section. As I said before I believe that the individual dancer can chose the order to some degree and add songs or short sections of stick dancing to make it up to 10 parts.

I hope this helps your understanding of the Ashra Baladi!