The Sword Dance

Nesma

The most inspirational pieces to dance either with or without sword and to create mysterious ambient music with an Egyptian flair.

On one hand, we find pieces in the purest Egyptian style, for those of you who enjoy dancing to traditional instruments and full orchestras. On the other, we have explored a fusion of electronic and acoustic music. The result is fabulous and incredibly evocative of sword dance. These pieces will also suit those dancers with a very personal style, who enjoy tribal dance and are very creative on stage.

Artist: Nesma
Music by: Ahmed Abdel Fattah
Title: The Sword Dance & other mysterious pieces
Magic Dances Volume 2
Catalogue ref.: ND8002

Hello, friends of Arabic music and Oriental dance!

After much thought regarding what kind of music dancers need for their performances, I decided to create this music especially for the sword – or sabre – dance. I have always found this dance fascinating and I know many of you share my opinion. As you already know from Vol. 1, these pieces can be used for whatever style of dance you prefer, and not just for sword dance. The main difference from the previous album is that this work offers a wide stylistic variety. On one hand, we find pieces in the purest Egyptian style, for those of you who enjoy dancing to traditional instruments and full orchestras. On the other, we have explored a fusion of electronic and acoustic music. The result, as you will see, is fabulous and incredibly evocative of sword dance. These pieces will also suit those dancers with a very personal style, who enjoy tribal dance and are very creative on stage.
All these pieces have been especially composed for this album by the Egyptian musician Ahmed Abdel Fattah. It includes three songs with lyrics written by the poet Ezzeldin Hassan based on my original ideas.

A mysterious, possibly mystic origin surrounds the sword dance. Historic paintings place it in the harems; famous travellers from past times have described it also. Various conflicting legends unsuccessfully try to explain it.

One theory traces its origin to the late 18th century during the French occupation of Egypt, when the Egyptians were not allowed to carry weapons. To entertain these foreign soldiers the dancers developed a dance with their swords which the men found fascinating. When they returned to Europe, they lost no time spreading the legend.

In Egypt there are male dances in which men feign fighting with sticks. Women customarily carry objects on their heads; so it is not surprising that the sword ended up balancing over a dancer´s head. For some unknown reason, swords might have been forbidden, which could be why this dance is not part of the current repertoire of Egyptian dancers.

Another theory is that the sword dance is a tribal dance of the ghawazee gypsies and other ethnic groups.

The origin of the sword dance is often sought in the Ancient Egyptian civilisation, as it could have been performed to honour the goddess Neith – Ra´s mother, goddess of war and destructor of the enemy. Her primitive symbol was a shield with two crossed shafts. As well as being linked to weapons, Neith was also a mother figure as the “goddess originator”.

In Syria it is traditional to perform the sword dance as part of the wedding ceremony.

In addition to all of these legends, we have to consider the influence of cinema and the fascination western art has with the Orient, a source of inspiration for musicians, painters and writers.

Sword dance, as opposed to Arabic dance – which represents the joy of life and of womanhood – conjures a variety of mental imagery for the observer, from the sacred ritual to the power of the feminine over the male (represented by the sword), as well as the drama of war.

However, in this work we have tried to make music for peace through a war dance. The lyrics, of which a translation is included, speak about the longing for peace shared by all women in the world. We hope you find inspiration for your dance and that you enjoy the music as much as we did creating it. Enjoy it!

— María Paloma García-Cabanes

Track listing

1. The Enigma of the Snake Ahmed Abdel Fattah (5:58)

2. Born Free Ahmed Abdel Fattah. Letra: Ezzeldin Hassan (6:05)

3. No More War Ahmed Abdel Fattah (4:42)

4. Playing in the Oriental Garden Ahmed Abdel Fattah (5:31)

5. Secret Castle Ahmed Abdel Fattah (4:10)

6. With Peace and Love Ahmed Abdel Fattah. Letra: Ezzeldin Hassan (8:01)

7. Mysterious Drums Ahmed Abdel Fattah (4:42)

8. Born Free Instrumental Ahmed Abdel Fattah (6:05)

9. Born Free Finale Ahmed Abdel Fattah (0:30)

10. With Peace and Love Instrumental Ahmed Abdel Fattah (5:38)

11. With Peace and Love Finale Ahmed Abdel Fattah (0:30)

12. Nam Ya Habibi Ahmed Abdel Fattah. Letra: Ezzeldin Hassan (5:08)

13. Nam Ya Habibi Instrumental Ahmed Abdel Fattah (5:06)

Total playing time: 61:29

Credits

Produced by María Paloma García-Cabanes

Recorded in Cairo in Magic Sound Studio by Ahmed Abdel Fattah

Liner notes

1. The Snake Enigma
A piece performed by a full orchestra of oriental instruments in the purest Egyptian style. Its various parts and changes of rhythm allow the dancer to show off her skills. The oboe leads the main melody. Its beautiful sound conjures ancient images from the Orient, its souks, its palaces and harems…

2. Born Free
This is an Andalusi-style song. The lyrics, of which a translation is included, have been specifically composed for sword dance. It opens with an orchestral intro in masmoudi, a favourite Andalusi rhythm, followed by a pretty ney takasim in the middle. Finally the song develops towards a happy ¾ darek, a typical Andalusi rhythm.

The solo singer´s beautiful voice alternates with the choir. Eight violins answer the main melody, which is supported by the kanoun, the lute and the nay.
Lyrics:

Unsheathe your swords above your heads
The sword can reap words
You took my body, but
My songs will never bow to you

I was born free…I sing and dance
Like a bird fluttering among the palm trees
My proud thoughts, free in their uniqueness
My heart is singing the mawal

Unsheathe your swords above your heads
The sword can reap words
You took my body, but
My songs will never bow to you

Awake and asleep I dreamt
That peace would reach the heart
If the heart were full of love
There wouldn´t be room for swords nor arrows

Unsheathe your swords above your heads
The sword can reap words
You took my body, but
My songs will never bow to you

My mawal reaches the heart of men
Artist´s candour heals wounds
The sound of my lute delights the ears
With songs that make the soul shiver

3. No More Wars
This song is about Maria, who is perhaps dancing with a sword. This is a mysterious tune with a suggestive, atmospheric feeling. There is a mixture of two different sound qualities: on one hand, four of the most important solo instruments in Oriental music (lute, kanoun, violin and nay) and on the other, an electronic base with background sounds of swords, chains, etc.

We wanted to suggest a feeling of war, with male voices chanting: “Maria, Maria, no more war, we want peace”. Men are asking Maria to help them achieve peace.

4. Playing in the Oriental Garden
This versatile musical piece can be used for almost any style of Oriental dance. It gracefully starts with violin pizzicato. The rhythm alternates frequently between maksoum and masmoudi, to finish in a happy malfouf. The same pizzicato that started the song brings it to an end.

5. Secret Castle
This composition is a perfect combination of electronic sounds with deep Turkish style Oriental music, all surrounded by the Andalusi style atmosphere of a moaxajat in a Samai Saraband 7/8 rhythm. Diverse acoustic instruments inprovise over the base melody.

6. With Peace and Love
Here we have a grand orchestral piece. Sound effects suggesting the desert wind, faraway drums, galloping horses and the clashing of swords help create an atmosphere that drive us into the song. After the introduction, the full orchestra breaks into military rhythm with the beat of the drums and the sound of the trumpets.

Once again, choir and lead singer alternate and finally the piece evolves into a joyful song of peace in saidi rhythm.

Lyrics:

The drums are playing
The fire was lit
They took my love away (my love was taken from me)
He left me all alone
My love said: “Days…”
And it´s been years
He left me with sombre thoughts
In pain and unrest

Love of my soul
He swore and swore again
If I return hurt
It would be from longing
My love also said
I hope all songs
Fulfil their wishes
With peace and with love

He said wars
Are written
I said destiny
Is but human work
My love also said
I hope all songs
Fulfil their wishes
With peace and with love

Hey, girls! Come and dance!
With boys and women
With a heart full of love
Banish pain
Sing songs full of joy
Forget sadness
And let the soul rejoice

My love also said
I hope all songs
Fulfil their wishes
With peace and with love

7. Mysterious Drums
Coming from far away, a mysterious rhythm approaches accompanied by a fusion of electronic and acoustic sounds (nay, lute, kanoun and violin). This suggestive combination evokes a contrasting mixture of sensuality and mystery.

8. Born Free (Instrumental)
In this instrumental version, lute and kanoun replace the main voice. The takasim is also different, because the percussion disappears completely and leaves the nay on its own. Lute, nay and kanoun are the soloists in the last part.

9. Born Free (Finale)
This is a luxurious finale to add prestige to the dancer, perfect to end the show on a high note.

10. With Peace and Love (Instrumental)
In this new, shorter instrumental version, lute and violin exquisitely alternate to replace the voice.

11. With Peace and Love (Finale)
An alternative grand finale for this great song.

12. Nam Ya Habibi (Sleep, my Baby)
I wanted to include this song as a gift for all dancers who are mothers and for those who wish to become one in the future. I wanted to produce an Oriental style lullaby that was also suitable for dancing. I hope it touches your heart.

lyrics:

Night is here
Day is just gone
And here I am awake
With my beloved child
Sleep, my love

Cradled in Mother´s arms
So quiet, so calm!
I´ll sing you a lullaby
To drive evil away.
Sleep, my love

Sleep and dream of beauty
Of love and sparkles
With an oud and a flute
With horses and camels
Sleep, my love

Tomorrow will be brighter
Than this sombre day,
People with love
No hate… no rage
Sleep, my love

We will sow peace together
To make come true
Those dreams we dream
Together
Sleep, my love

Tomorrow peace
Will cover your wings
Singing your odes
You will fly across the world
Sleep, my love

13. Sleep My Baby (Instrumental)
We have added percussion to this instrumental version to stress the beat and make it more suitable for dancing. The rhythm changes from wahda to malfouf and lute and kanoun take the place of the singer.

The composer: Ahmed Abdel Fattah

Born in Cairo in 1954. Considered one of the best accordion players in Egypt, Ahmed Abdel Fattah is also an accomplished composer and arranger specialising in Oriental music.
During his brilliant professional career, he has worked with many famous Cairo dancers like Zenat Elwi, Nahid Sabry, Azza Sherif, Nelly Fouad and Nagwa Fouad. He has also accompanied renowned singers like Soad Mohamed, Anwyea Latifa, Asala and Hani Shakes.
In 1980 he worked in the famous Parisian nightclub El Gandool. From Paris he moved to Germany and in 1985 the Royal Arabic Orchestra invited him to Oman to play and teach Andalusi style and music from the Gulf.
He returned to his hometown in 1995 and founded his own recording studio: Magic Sound.
His creativity and professionalism, his dedication to our work together with our joint desire to expand the Oriental music scene, have been essential to the development of this project.