Baladi dance with Live Band | Alida Lin performs Takasim Improvisation

[@tracyli9680]

Fabulous as always 😍😍 Great musicality and creative! 💓

[@TamerAziz]

Thank you so much, dear Tracy Li, I'm so glad you like the video!❤️️

[@GrumpyKitten375]

There is no mastery here sir. She is just repeating alot of hyper agressive choreography from other eastern european dancers and is not moving as to the music. She has no ear for rhythm, syncopation or cadence.

[@TamerAziz]

Thank you for your comment, dear Grumpy Kitten. Alida has her own unique style of dancing. She has learned from many Egyptian dancers and dance instructors and then integrated this with her kinetic culture, which has given her this distinct performance. Despite being entirely different from the form of Eastern European performance, it intersects with it in its kinetic Easternness, which strongly confirms that various forms of Eastern dance movements belong to Eastern societies altogether. Upon analyzing her dance movements, we find that the kinetic formation of her hands belongs to its original homeland and is used to emphasize facial movements. Meanwhile, the kinetic formation of the body during performance belongs to Eastern societies, and the kinetic formation of the legs belongs to North African communities. All of this, combined with the noticeable speed sometimes in her performance, indicates the extent of her influence by the speed of the era we live in now.

[@maryamfrance1114]

What do you mean by « the kinetic formation of the legs belongs to North African communities »? Because I don’t see any Moroccan, Algerian or Tunisian steps in her dance.

[@TamerAziz]

@@maryamfrance1114 Thank you so much for your important comment.❤ In North African communities, there is a stark difference in meaning compared to North African countries. However, North African countries are not limited to just Morocco, Algeria and Tunisia; there are other countries, such as Libya and Egypt, which you surely also know. North African societies intertwine with each other in various forms of kinetic culture, such as trembling movements "chest and waist shaking", knee-bending in certain bodily formations, and stomping and /or jumping on the ground, etc. This intermingling of kinetic forms can be traced back to the migration of some of these communities through the ages, settling in other places within North African countries. This led to the blending of these kinetic cultures, resulting in what we refer to as 'kinetic formation,' which we observe today in dance forms. We cannot analyze these kinetic formations to understand their meanings without deconstructing them and tracing them back to their roots. This process is not complicated when studying how to understand the initial kinetic cultural formation and researching the community to which it belongs in order to comprehend its intended meaning. I would be honored if you could attend one of my lectures on gestures and postures, where I explain 'Kine' and 'Kinemorph' within the forms of dance movements through the semiotics of movement.