Thread: How Important are "What Style" Discossions - and - are they even accurate?

[QUOTE]

Originally Posted by Elibelinde

David - this is exactly my point.

It's also very limiting. It can be extremely inhibiting to one's own development to say, "I have decided to be an xxxxx" instead of just - well - dancing!

I guess my response to this would be..then be a 'dancer'.
Dont lable and sell what you do under one name.. dont try and sell it as a 'product' to one particular group..namely one which comes under the ever increasing umberella of 'belly dance'.

Also, we hear these little voices in our heads. They say, "I am bad because I am not doing it right according so & so."

There can be an unhealthy dependancy on the words of one local teacher. These issues will not arise if people take the power of the dance away from an individual and apply it to the culture. ME dance is so vast.. I am sure Vintage Am and Tribal is too.

Look and explore the bigger picture, do your homework.. things will be very complex but with less fear and far more freedom.

I think there is a misconception that linking this dance to it's cultural art form
is limiting.. it's totally not, it's the opposite.

Usually it is the teacher who limits it.

Originally Posted by caroline_afifi

Look and explore the bigger picture, do your homework.. things will be very complex but with less fear and far more freedom.

I think there is a misconception that linking this dance to it's cultural art form
is limiting.. it's totally not, it's the opposite.

Usually it is the teacher who limits it.

I think some personality types naturally tend to worry about details and correctness. We do see a lot of students who come to this dance to "find themselves" in a world where they might otherwise be quite tentative. I agree that teachers can influence students to think that there are set-in-stone rules and violating them is a grand transgression, but some students are predisposed to assume this anyway. I don't think conversations like the recent "turban" one (while they do have a reason for existing) do much to combat the idea that an inexperienced student shouldn't be afraid of jumping in anywhere, shielded by good intentions. The fear comes from more than one place. A similar idea came up in one of the music threads this week. Students sometimes feel overwhelmed by the enormity of knowledge that one needs to amass to be reasonably competent at this dance. It just keeps spreading out in every direction, and it's tempting to want someone to just give you a concrete list of choreographies to master, songs to recognize, and things not to do.

Originally Posted by Tourbeau

I think some personality types naturally tend to worry about details and correctness. We do see a lot of students who come to this dance to "find themselves" in a world where they might otherwise be quite tentative. I agree that teachers can influence students to think that there are set-in-stone rules and violating them is a grand transgression, but some students are predisposed to assume this anyway. I don't think conversations like the recent "turban" one (while they do have a reason for existing) do much to combat the idea that an inexperienced student shouldn't be afraid of jumping in anywhere, shielded by good intentions. The fear comes from more than one place. A similar idea came up in one of the music threads this week. Students sometimes feel overwhelmed by the enormity of knowledge that one needs to amass to be reasonably competent at this dance. It just keeps spreading out in every direction, and it's tempting to want someone to just give you a concrete list of choreographies to master, songs to recognize, and things not to do.

Honestly, that's not a bad place to start. It is good to have a digestible amount of information given to you for a while, as you get your feet under you and start to discover what direction YOU want to take things in. That's what good teachers and mentors are *FOR* after all! But, it is only a beginning, and eventually you need meat instead of milk! There are a few people motivated enough to seriously tackle this on their own, by either preference, circumstance or necessity, but most folks need that (please forgive the term, it is NOT derogatory in intent) bottle feeding for a period of time. *There is nothing wrong with that for a beginner!* But then you need to grow up or else stagnate, and yes, you'd better be prepared for the wild world out there, with all the arguments and mistakes and glorious discoveries along the way!

[QUOTE]

Originally Posted by Tourbeau

I think some personality types naturally tend to worry about details and correctness. We do see a lot of students who come to this dance to "find themselves" in a world where they might otherwise be quite tentative. I agree that teachers can influence students to think that there are set-in-stone rules and violating them is a grand transgression, but some students are predisposed to assume this anyway.

yes... but all sorts become teachers.

I don't think conversations like the recent "turban" one (while they do have a reason for existing) do much to combat the idea that an inexperienced student shouldn't be afraid of jumping in anywhere, shielded by good intentions. The fear comes from more than one place.

I guess for some like me there are lines I dont feel should be negotiated.
I think it is useful for people to know and understand the potential for big mistakes that perhaps go above and beyond doing a 'beledi move' in a classic song (sort of thing). there are 'mistakes' and there are MISTAKES.
Better to know the stealth..

A similar idea came up in one of the music threads this week. Students sometimes feel overwhelmed by the enormity of knowledge that one needs to amass to be reasonably competent at this dance. It just keeps spreading out in every direction, and it's tempting to want someone to just give you a concrete list of choreographies to master, songs to recognize, and things not to do.

yes, but I can live with this..we all started in a place of being overwhelmed.
It is all part of the BD journey and there are very few shortcuts.

Originally Posted by norma

Dang. I just posted a long reply to David's question, and just when I went to hit post, I somehow lost it all. I'll have to come back at another time. Short answer: the difference is like the difference between flying and having your feet firmly rooted to the ground.

Okay, back to David's question. Sorry, I didn't mean to leave you hanging, but I've been dealing with a couple of family crisises and now I have only 10 minutes before American Idol so:

If you go back and listen to that first clip I posted of Aida at Mykonos, listen to the music. The bouzoukee and trap drums create a light happy sound. If you walked into a Greek nightclub it always sounded happy and like a party was going on. (Only at the end of the night did they pull out the heavy sad love songs.) The 5 part set consisted of a fast opening (often an Arabic song played Greek style like Aziza), rhumba or bolero for veil, another fast song/bouzoukee solo, slow chiftitelli with clarinet for floor work, and end with a fast song or 9/8 and trap drum solo. I used a limited range of basic steps, mainly because the music was so fast. A lot of spins and twirls. There wasn't a great variation of rhythm in the fast songs so I didn't need a large range of steps to draw from. Contrast that with Arabic music where your opening song could have several rhythm changes in only a few minutes.

Because of the fast pace and traveling and spinning, I always felt like I was flying (except during floorwork of course, where the sensual clarinet kept you grounded.)

My Arabic sets often consisted of 7-9 parts instead of 5. The Greek bands had seamless transitions from one song to the next. The Arabic bands stopped and tuned instruments, we discussed what to do next. Even if the song was fast, there was still time to do what my teacher referred to as "finish the movement". For example, if I wanted to do the beledi step with song the Greek band was playing to me it would go like this " bop bop bop bop bop..." I would just be bouncing my hip up and down or front in back in uniform time. 12345... However in Arabic music, there are phrases and pauses so I would add some rhythm to my hip drops and not just bounce up and down, 12345...I might do 1 & 2 and 345. So while the execution of the hip drop was exactly the same, the delivery was different, as the MUSIC dictated what I did.

[QUOTE=caroline_afifi;862376]

I guess my response to this would be..then be a 'dancer'.
Dont lable and sell what you do under one name.. dont try and sell it as a 'product' to one particular group..namely one which comes under the ever increasing umberella of 'belly dance'.



There can be an unhealthy dependancy on the words of one local teacher. These issues will not arise if people take the power of the dance away from an individual and apply it to the culture. ME dance is so vast.. I am sure Vintage Am and Tribal is too.

Look and explore the bigger picture, do your homework.. things will be very complex but with less fear and far more freedom.

I think there is a misconception that linking this dance to it's cultural art form
is limiting.. it's totally not, it's the opposite.

Usually it is the teacher who limits it.

Caroline, as a "dancer" I am not sure what you are trying to say here.

?

I think it's a real problem when people assume there is only ONE culture in the Middle East.

Originally Posted by norma

Okay, back to David's question. Sorry, I didn't mean to leave you hanging, but I've been dealing with a couple of family crisises and now I have only 10 minutes before American Idol so:

If you go back and listen to that first clip I posted of Aida at Mykonos, listen to the music. The bouzoukee and trap drums create a light happy sound. If you walked into a Greek nightclub it always sounded happy and like a party was going on. (Only at the end of the night did they pull out the heavy sad love songs.) The 5 part set consisted of a fast opening (often an Arabic song played Greek style like Aziza), rhumba or bolero for veil, another fast song/bouzoukee solo, slow chiftitelli with clarinet for floor work, and end with a fast song or 9/8 and trap drum solo. I used a limited range of basic steps, mainly because the music was so fast. A lot of spins and twirls. There wasn't a great variation of rhythm in the fast songs so I didn't need a large range of steps to draw from. Contrast that with Arabic music where your opening song could have several rhythm changes in only a few minutes.

Because of the fast pace and traveling and spinning, I always felt like I was flying (except during floorwork of course, where the sensual clarinet kept you grounded.)

My Arabic sets often consisted of 7-9 parts instead of 5. The Greek bands had seamless transitions from one song to the next. The Arabic bands stopped and tuned instruments, we discussed what to do next. Even if the song was fast, there was still time to do what my teacher referred to as "finish the movement". For example, if I wanted to do the beledi step with song the Greek band was playing to me it would go like this " bop bop bop bop bop..." I would just be bouncing my hip up and down or front in back in uniform time. 12345... However in Arabic music, there are phrases and pauses so I would add some rhythm to my hip drops and not just bounce up and down, 12345...I might do 1 & 2 and 345. So while the execution of the hip drop was exactly the same, the delivery was different, as the movement dictated what I did.

That feeling of flying was something else.

Originally Posted by Elibelinde

Caroline, as a "dancer" I am not sure what you are trying to say here.

I think she is saying there is nothing wrong with being a fusion dancer - mi x belly dance, jazz, samba, hula, expressions of connection to the devine - whatever. But don't then go and describe yourself as a belly dancer. Just use the generic.

Originally Posted by norma

The 5 part set consisted of a fast opening (often an Arabic song played Greek style like Aziza), rhumba or bolero for veil, another fast song/bouzoukee solo, slow chiftitelli with clarinet for floor work, and end with a fast song or 9/8 and trap drum solo. I used a limited range of basic steps, mainly because the music was so fast. A lot of spins and twirls. There wasn't a great variation of rhythm in the fast songs so I didn't need a large range of steps to draw from. Contrast that with Arabic music where your opening song could have several rhythm changes in only a few minutes.

For example, if I wanted to do the beledi step with song the Greek band was playing to me it would go like this " bop bop bop bop bop..." I would just be bouncing my hip up and down or front in back in uniform time. 12345... However in Arabic music, there are phrases and pauses so I would add some rhythm to my hip drops and not just bounce up and down, 12345...I might do 1 & 2 and 345. So while the execution of the hip drop was exactly the same, the delivery was different, as the movement dictated what I did.

I believe THIS is the main cause of "stylization" among belly dancers. We dance to the music we hear. Turkish and Greek music are quite different from Arabic music so we dance differently depending upon which we're hearing.

If one can "hear" music at all, then one cannot help but dance differently!

Deborah

[QUOTE][QUOTE=Elibelinde;862801]

Originally Posted by caroline_afifi

Caroline, as a "dancer" I am not sure what you are trying to say here.

?

I am basically saying that when a person attaches a label to what they do, they are basically limiting themselves. When you say 'what i do is X' then there is an expectation from others for you to deliver just that...if you dont, then it is very confusing.

I think it's a real problem when people assume there is only ONE culture in the Middle East.

Yes, I personally only use 'Egyptian' because that is what I do. I also do Tunisian and some other North African styles, a little Khaleegy etc. but I use the correct names when I do.

Originally Posted by casbahdance

I believe THIS is the main cause of "stylization" among belly dancers. We dance to the music we hear. Turkish and Greek music are quite different from Arabic music so we dance differently depending upon which we're hearing.

If one can "hear" music at all, then one cannot help but dance differently!

Deborah

Yep, I meant Music, not movement. I re-edited my post to make the correction.

Originally Posted by norma

Okay, back to David's question. Sorry, I didn't mean to leave you hanging, but I've been dealing with a couple of family crisises and now I have only 10 minutes before American Idol so:

If you go back and listen to that first clip I posted of Aida at Mykonos, listen to the music. The bouzoukee and trap drums create a light happy sound. If you walked into a Greek nightclub it always sounded happy and like a party was going on. (Only at the end of the night did they pull out the heavy sad love songs.) The 5 part set consisted of a fast opening (often an Arabic song played Greek style like Aziza), rhumba or bolero for veil, another fast song/bouzoukee solo, slow chiftitelli with clarinet for floor work, and end with a fast song or 9/8 and trap drum solo. I used a limited range of basic steps, mainly because the music was so fast. A lot of spins and twirls. There wasn't a great variation of rhythm in the fast songs so I didn't need a large range of steps to draw from. Contrast that with Arabic music where your opening song could have several rhythm changes in only a few minutes.

Because of the fast pace and traveling and spinning, I always felt like I was flying (except during floorwork of course, where the sensual clarinet kept you grounded.)

My Arabic sets often consisted of 7-9 parts instead of 5. The Greek bands had seamless transitions from one song to the next. The Arabic bands stopped and tuned instruments, we discussed what to do next. Even if the song was fast, there was still time to do what my teacher referred to as "finish the movement". For example, if I wanted to do the beledi step with song the Greek band was playing to me it would go like this " bop bop bop bop bop..." I would just be bouncing my hip up and down or front in back in uniform time. 12345... However in Arabic music, there are phrases and pauses so I would add some rhythm to my hip drops and not just bounce up and down, 12345...I might do 1 & 2 and 345. So while the execution of the hip drop was exactly the same, the delivery was different, as the MUSIC dictated what I did.

AMEN sister! the greek and armenian music tended to be in major chords ..up, happy. arabs use more minor chords,.dark and velvety!

Originally Posted by zamora

AMEN sister! the greek and armenian music tended to be in major chords ..up, happy. arabs use more minor chords,.dark and velvety!

As I understand it, traditional Arab music uses no chords - that is one of the differences - along with the extra notes. Maqamat do not use the chord concept at all.

Originally Posted by kashmir

As I understand it, traditional Arab music uses no chords - that is one of the differences - along with the extra notes. Maqamat do not use the chord concept at all.

nit picking
Major & minor scales are both a type of mode. Maqamat are also a type of mode. Some maqamat actually coincide with Western scales as well- and those are the ones heard most often over here because they can be played on western instruments without modification. Western modes are defined by their intervals (sequence of whole step/half step) but any note can be used as a starting note, where as maqamat generally have a customary starting note (or 3 that can be used)- which is why I say they coincide rather than are identical to western scales. So, if you have a maqam which coincides with a western scale, technically you *could* say the song is in a Western minor scale. Chords are a whole 'nother story.

[QUOTE=caroline_afifi;862853][QUOTE]

Originally Posted by Elibelinde

I am basically saying that when a person attaches a label to what they do, they are basically limiting themselves. When you say 'what i do is X' then there is an expectation from others for you to deliver just that...if you dont, then it is very confusing.



Yes, I personally only use 'Egyptian' because that is what I do. I also do Tunisian and some other North African styles, a little Khaleegy etc. but I use the correct names when I do.

When you say you do Egyptian, do you mean shaabi? That's what I've seen on your videos labelled Egyptian but they look more shaabi. Does shaabi now mean Egyptian nowadays? Just trying to wrap my mind around this so that I understand what you are saying.

Eternalstudent: Caroline is a fantastic Balady, Oriental and Shaabi dancer (all considered Egyptian and a part of an Egyptian style dancer's potential repertoire) - I bet she has other things up her sleeve too. :D

Originally Posted by Lara L

So, if you have a maqam which coincides with a western scale, technically you *could* say the song is in a Western minor scale. Chords are a whole 'nother story.

Scales/modes/maqamat are one thing but chords do not fit into the music system at all. Call me a nitpicker if you want - oh, you did!

Originally Posted by EternalStudent

When you say you do Egyptian, do you mean shaabi? That's what I've seen on your videos labelled Egyptian but they look more shaabi. Does shaabi now mean Egyptian nowadays? Just trying to wrap my mind around this so that I understand what you are saying.

Shaabi is a tiny part of professional dance in Egypt - but big in the social scene. Some dancers use some shaabi in their belly dance - the same way they'd use sa`iidi or khaleegi when the mood calls for it. I'd say Caroline is more beledi than shaabi.

[QUOTE=EternalStudent;863617][QUOTE=caroline_afifi;862853]

When you say you do Egyptian, do you mean shaabi? That's what I've seen on your videos labelled Egyptian but they look more shaabi. Does shaabi now mean Egyptian nowadays? Just trying to wrap my mind around this so that I understand what you are saying.

No I mean Egyptian.

I have a style which I am comfortable with that is rooted in beledi.
The Sha'abi thing you talk about is just where Beledi and Sha'abi cross over.

Sha'abi is a very broad definition but it does suggest an approach to technique without much ballet infulence.

Check out the other thread about Sha'abi, it maybe able to help you recognise the difference in these styles.

Originally Posted by david

Eternalstudent: Caroline is a fantastic Balady, Oriental and Shaabi dancer (all considered Egyptian and a part of an Egyptian style dancer's potential repertoire) - I bet she has other things up her sleeve too. :D

Thanks David.

With regards to this discussion about styles, I trained in many over the years then gave most of them up.

For me, I wanted to focus more on particular styles.

As I got older I realised that instead of forcing myself to do styles I didnt respond naturally to or didnt suit me I should just do what I do best.

Why should I go out and perform an elegant form of modern Oriental when there are students of mine who can do it better than me!..nor do I particularly enjoy dancing this style, I prefer to watch others.

I generally teach a style of dance that I do particulary well (and know intimately and instictively) and other people wish to develop and no more about.

How have people here approcched understanding their own style?

I'll let you know when I find it - both the understanding and style ;) LOL

Great question though, Caroline. I will be curious to read what others say on this subject.

Originally Posted by kashmir

Scales/modes/maqamat are one thing but chords do not fit into the music system at all. Call me a nitpicker if you want - oh, you did!

I was actually calling myself a nitpicker- and trying to explain that mode (or possibly scale) was probably the word the OP was probably looking for. Yes, as I said, chords are a different kettle of fish, and no, they are not used in the typically monophonic melodic lines, no matter how decorated they can become!

Originally Posted by caroline_afifi

How have people here approcched understanding their own style?

I started with the music that really moved me emotionally, and that happened to be that "orchestral" stuff like Wahab and Farid al Atrache.

Then I accepted the fact that I had a lifetime of ballet training that wasn't going away, and that it was going to affect how I danced Oriental.

Now my goal is to develop a lyrical response to this Egyptian music that captures some of what I always loved about Sohair Zaki and Lucy. If I'm ever able to capture this successfully, that will be "my style." I think I'm getting there, but I have a lot of work ahead.

Originally Posted by aziyade

I started with the music that really moved me emotionally, and that happened to be that "orchestral" stuff like Wahab and Farid al Atrache.

Then I accepted the fact that I had a lifetime of ballet training that wasn't going away, and that it was going to affect how I danced Oriental.

Now my goal is to develop a lyrical response to this Egyptian music that captures some of what I always loved about Sohair Zaki and Lucy. If I'm ever able to capture this successfully, that will be "my style." I think I'm getting there, but I have a lot of work ahead.

Yes, we are definately drawn to a variety of styles connected with personality and experience.
I think you are very clear about how and why these styles are right for you.

What is it about Lucy and Suhair you want to capture?

Did you ever try styles which you could not connect with?

Originally Posted by caroline_afifi

As I got older I realised that instead of forcing myself to do styles I didnt respond naturally to or didnt suit me I should just do what I do best.

Why should I go out and perform an elegant form of modern Oriental when there are students of mine who can do it better than me!..nor do I particularly enjoy dancing this style, I prefer to watch others.

I generally teach a style of dance that I do particulary well (and know intimately and instictively) and other people wish to develop and no more about.

How have people here approcched understanding their own style?

I am starting to come to similar conclusions myself. I was watching Fifi last night and thinking about how differently she would execute an arabesque or a hip drop from other Egyptian dancers, and how no matter what song she does, she still has her unique Fifi style - whether it's Oum Kolthoum or a Baladi or a drum solo - she has her style in it - she doesn't change drastically.

I still think it's important for me as a developing dancer to study and challenge myself with other styles - for example, I will take a workshop from someone like Randa Kamel even though what she does does not come naturally to me. I think it probably makes me a better dancer. And it's also good to get some variety to keep things fresh for myself. But I'm starting to feel like it's OK to specialize in one area - to realize that you're always going to be a more "grounded" dancer than a more aerial dancer, someone more comfortable with baladi than Oriental - even if you train in and learn and do both. I know I always look forward to the baladi progression portion of my routine the most, and after that the drum solo. But I do worry that by doing what's easy for me, and avoiding what's hard, I am not growing. I also don't want to be a one-trick pony - I want my shows to have variety.

However, I have limited what I pursue somewhat. Long ago I came to the conclusion that I was not going to be a tribal-fusion dancer and I was not going to be a fancy-trick kind of dancer (extreme backbends, turkish drops, etc) - my abilities and my body's capabilities did not lend themselves to those things. I will sometimes do things that I wouldn't ordinarily do for a group piece - for example, I did Veil-Poi in a duet - I wouldn't do it on my own.

[QUOTE]

Originally Posted by Nepenthe

I am starting to come to similar conclusions myself. I was watching Fifi last night and thinking about how differently she would execute an arabesque or a hip drop from other Egyptian dancers, and how no matter what song she does, she still has her unique Fifi style - whether it's Oum Kolthoum or a Baladi or a drum solo - she has her style in it - she doesn't change drastically.

yes, absolutely.

I still think it's important for me as a developing dancer to study and challenge myself with other styles - for example, I will take a workshop from someone like Randa Kamel even though what she does does not come naturally to me. I think it probably makes me a better dancer. And it's also good to get some variety to keep things fresh for myself.

It is almost essential do do this. I had to go through this to know and understand which direction I was naturally taking. I used to hear alot of students who just puffed and gave up the second they couldnt do something. This will not work.

But I'm starting to feel like it's OK to specialize in one area - to realize that you're always going to be a more "grounded" dancer than a more aerial dancer, someone more comfortable with baladi than Oriental - even if you train in and learn and do both. I know I always look forward to the baladi progression portion of my routine the most, and after that the drum solo. But I do worry that by doing what's easy for me, and avoiding what's hard, I am not growing. I also don't want to be a one-trick pony - I want my shows to have variety.

I totally understand what you are saying and a balance is important. Do you think what you do is easy? sometimes the most simple looking things are actually the hardest. Making something look relaxed and easy is also very difficult.

However, I have limited what I pursue somewhat. Long ago I came to the conclusion that I was not going to be a tribal-fusion dancer and I was not going to be a fancy-trick kind of dancer (extreme backbends, turkish drops, etc) - my abilities and my body's capabilities did not lend themselves to those things. I will sometimes do things that I wouldn't ordinarily do for a group piece - for example, I did Veil-Poi in a duet - I wouldn't do it on my own.

Ditto.. and I think that is perfectly fine.

This does not mean you dont have to set yourself something extreme in difference.. but it can still be within a range.

I am about to embark on tackling a 'vintage' Sha'abi piece called Bint el Sultan for the Liverpool Arab Arts Festival in July.
I love it!

YouTube - Ahmed Adaweya - Bent El Sultan /

I can't contribute much useful because I'm still such a baby dancer, but I wanted to thank you all for the great reading material! I too try to be like a sponge, soak soak soak!

[QUOTE=caroline_afifi;866419]

I totally understand what you are saying and a balance is important. Do you think what you do is easy? sometimes the most simple looking things are actually the hardest. Making something look relaxed and easy is also very difficult.

I am about to embark on tackling a 'vintage' Sha'abi piece called Bint el Sultan for the Liverpool Arab Arts Festival in July.
I love it!

YouTube - Ahmed Adaweya - Bent El Sultan /

To the first question, it's easy for me and yet I still have to work at it. But comparing the different things I've had to learn, some things come easier than others. And some things _feel_ really good - and other things feel uncomfortable - like dragging my nails across a chalkboard.

I love Bint El Sultan - I just did an (improvised) performance to that song. What informed me was 1) reading and imagining the lyrics visually 2) watching suhair zaki and adaweya together 3) Ranya Renee's Taqasim DVD - the section on mawwals. Posting it to share but not as an example - I still have much to learn.

This thing keeps turning into a video - I just meant for it to be a link.

[QUOTE=Nepenthe;866613]

Originally Posted by caroline_afifi

To the first question, it's easy for me and yet I still have to work at it. But comparing the different things I've had to learn, some things come easier than others. And some things _feel_ really good - and other things feel uncomfortable - like dragging my nails across a chalkboard.

I love Bint El Sultan - I just did an (improvised) performance to that song. What informed me was 1) reading and imagining the lyrics visually 2) watching suhair zaki and adaweya together 3) Ranya Renee's Taqasim DVD - the section on mawwals. Posting it to share but not as an example - I still have much to learn.

This thing keeps turning into a video - I just meant for it to be a link.

Bint El Sultan was a very popular song back in the 80's. I think they played it for almost every show! Back then of course, we didn't call it shaabi, it was just beledi. That brings back memories.

Yes! its an absolute classic..

Certain tunes never go out of fashion and Sha'abi in the 70's was indeed mostly reffered to as baladi. There are still huge crossovers and both interchangable.

PS lovely clip BTW!