"Tere Bheege Badan Ke Khushboo Se"......"The Perfume Of Your Wet Body"....
"Khamosh Hawa Diwane Se" ......."Be Silent Madness From The Wind"....
Songs like this one of Indian and Pakistani Cinema from the 1970s & 1980s have an everlasting talent that seems to have all but gone from cinema of the contemporary Subcontinent?

This love song with the famous Pakistan Cinema matinee idols Nadeem and Shabnam came from the 1974 Urdu film 'Sharafat' ['Respectable']. The song is moving and unforgettable, yet simply photographed at low budget, it is puzzling that something so simple works so well.

Modern; delicate; innovative; genius; romantic; colourful; crafted...All of these words conjour up the talent of Music Director Robin Ghosh who created such a dazzling selection of film songs during the heyday of Pakistani Films. 'Tere Bheege Badan' is another jewel in Pakistan's breathtaking repetiore of unique musical compositions.

The premis of 'Sharafat' was the questioning of Society's obsession and definitions of 'Respectabilty'...This unusual approach did mar some of the success of 'Sharafat' due to audiences not grasping the questioning of social norms. The film still won awards and profits but the songs are forever!

Dr. Masood Haq analyses the film 'Sharafat' in a splendid article for Mazhar Pakistani Film Magazine:
http://mazhar.dk/film/magazine/review/sharafat.htm

ORCHESTRATION
The song FORM [sections over time] is Western Pop Song but is is lyrically based upon a traditional GHAZAL [a short lyric poem written in couplets]. The latter is too 'fussy' and 'meandering' for the precise cinema media format, so it is regulated into verses/chorus/bridge style to make it more fitting for measured film. Also the audience can 'digest' the GHAZAL better in Pop Song Bites that they are subconsciously conditioned to consume music through.

The FORM: Intro [VARIATION on chorus] + Chorus (I)* + Bridge 01 [VARIATION on chorus] + Verse (V)** + Chorus(I)* + Bridge 02 [VARIATION on chorus] + Verse (V)** + Chorus(I)* + Chorus(I)* + CODA [end section - repeated sections of chorus].

* TONIC (I) 'homenote' 'doh'/'sa' note area for melody
** DOMINANT(V) fifth note 'soh'/'pa' note area for melody

The bridge VARIATIONS [same tune is played in an altered way for variety and unity] show that the Music Director has some knowlege of Western Music Theory. The note lengths of the chorus tune are changed to make them 'similar' but 'different' to the original. A lot of research into ORCHESTRATION [controlling musical elements for orchestra] is evident in compositions of Robin Ghosh. For example, the dramatic opening of violins holding long four beat notes on the TONIC smacks of Western Concert Music, especially when overlaid with scalic runs on VIBRAPHONE [metallic tuned instrument with electronic echo]. This is used as PROGRAMMATIC MUSIC [music that promotes dramatic elements from ideas of the music].

There is a lot of skillful and measured revolving of musical TIMBRES [tone colour that identifies each particular musical instrument] and recycling of musical themes and tunes for UNITY [similar melodic and rhythmic elements that bind a composition together from common root].

For all of the clever uses of Western Orchestration, this song does not actually have European HARMONY [organised system of two or more notes sounding simultaneously]. The ORCHESTRATION is LAYERED [coincidendal multiple notes sound but there are no chords or HARMONY].

The LAYERING is very odd considering the bass note and chords played by the piano? Yet the music is LINEAR [composed as a single melody with concept from the beginning to the end] with added 'episodes' of multi-sound LAYERING for variety. The difference between LAYERING and HARMONY in the case of these songs with European 'touches' is that the Pakistani song is basically MONODIC [melody and drums]. It can be sung without the accompaniment with just a voice or a drum and work. A Western song NEEDS the SUPPORTING chords and HARMONY and cannot function well without them. The compositional concept is different. The MONODIC song is composed LINEAR whereas the HARMONIC song is composed vertically chord to chord HARMONY - the tune and chords must be played as part of the composition. MONODY is just the tune. The orchestration is added to boost the TONE MASS [thickness of sound] for the cinema. The interesting effective feature is the VIOLINS quietly play the melody. This works well in MONODY.

'JOIN US FAIR DAZZLING ONE' just a CINEMATIC DANCE MASTERPIECE by INDIAN CLASSICAL DANCER and ACTRESS: HEMA MALINI across three FILM-ESQE STYLES: BHARATANATYAM, NEPALESE and KATHAK on a HISTORICAL PALACE SET with RAJESH KHANNA miming to the LATE GREAT: MANNA DEY [Click 'Show more' for full analysis]

CLASSICAL RAGA CONTROLLED BY WESTERN ORCHESTRATION PLAN
Is this TRADITIONAL INDIA you might ask? ... A RESOUNDING "NAY!" is the answer.
COSMETICALLY the SOUNDS of SITAR [Indian Lute], TABLA [Indian tuned hand drums], the DECORATIVE VOCALS and ALAAPS [improvisional vocal openings and bridges on vowel sounds or lyrics] do 'SUGGEST' that we are in a 15th CENTURY INDIAN PALACE...but the FITTED and FRILLED SYNTHETIC FIBRE DANCE COSTUMES so beautifully carried by MS. MALINI tell us that there is more CABARET, plus more of RIMSKY-KORSAKOV'S ORCHESTRAL TREATY: 'THE PRINCIPALS OF ORCHESTRATION' from 1873 RUSSIAN CLASSICAL MUSIC than any of the REAL GRAND TRADITIONAL PRE-RAJ INDIAN ARTS. But the SYNTHESIS of the the WEST and EAST work well in this 1976 'MEHBOOBA' ['MY LOVE'] to bring us CLASSICAL INDIA that WORKS and is UNDERSTANDABLE by the DIVERSE MASSES for BOMBAY CINEMA.

WHY IS THE DANCE AND MUSIC NOT TRADITIONAL in 'MEHBOOBA'?
Like all COURT ENTERTAINMENT, for example, SYMPHONIES or RAGAS, the AUDIENCE have to have some 'KEN' about HOW THE GENRES WORK, WHAT IS BEING COMMUNICATED and HOW TO INTERPRET and ENJOY the ART. The CINEMA AUDIENCES are of MIXED EDUCATION, CLASS and RELIGION with NO KNOWLEDGE of KATHAK or RAGAS.

INDIAN CINEMA was the first to take the GLAMOUR and TRICKS of AMERICAN CINEMA and take WESTERN POP SONG FORM and WESTERN INSTRUMENTS to make a FILMI STYLE that the AUDIENCES could easily UNDERSTAND and were also 'CONDITIONED' to UNDERSTAND, be that SUBCONCIOUSLY. but VIEWERS can follow the INTRODUCTION, VERSE, CHORUS, BRIDGE, etc. FORMAT of the FILMI NUMBER, although not be aware of the STRUCTURE if asked about it.

Here LAXMIKANT-PYARALEL were given a DAUNTING TASK to CREATE a PALACE DANCE to show a FLASH-BACK of a REINCARNATED DANCER of the ACTRESS [HEMA MALINI] and to use COSMETIC TRADITION but WESTERN ORCHESTRAL CONTROL PLAN for VARIETY and COMPREHENSION of the AUDIENCE.

WHAT ASPECTS of 'GORI TORI PAIJANIYA' are 'WESTERN'?
The SONG STRUCTURE or SECTIONS OVER TIME are WESTERN. Although the COSMETIC SINGING is INDIAN, the PHRASES are REELED-IN to make them much more REGULAR than a REAL RAGA. This is for SELLING RECORDS but also has a more PRACTICAL ROLE. The ACTORS learn the PRE-RECORDED songs LINE-BY-LINE on the SETS.

In the early 1930s INDIAN FILMS they found that the TRADITIONAL SONGS had IRREGULAR and MEANDERING PASSAGES that when the ACTORS tried to MIME them, were CONFUSED as to where they were in the song. If someone else has SUNG the SONG like the RECENTLY LATE, MANNA DEY [1919-2013], it is difficult to MIME to LONG and SHORT SONG PHRASES. This is where the WESTERN POP SONG FORM of STANDARD LYRIC PHRASES helps to CONTROL the SONG for a MEDIA as PRECISE as the CINEMA.

The 'INDIAN-ISING' is done by DECORATING and COLOURING the TONE of the VOICE and ADDING INDIAN INSTRUMENTS to the TRACK to DISGUISE the WESTERN POP SONG FORM or at least give an impression of an INDIAN CLASSICAL PASTICHE [a PASTICHE means a piece of art in the style of an original piece of art].

IS HEMA MALINI'S DANCE AUTHENTIC?
The answer is NO. It is SUPERB DANCE and she is a trained BHARATANATYAM DANCER who still dances today. BHARATANATYAM means 'DANCE OF INDIA'. It is a DIFFICULT and ATHLETIC STATUE POSE DANCE that takes about EIGHT YEARS to LEARN and was originally used to TELL the STORIES of HINDU GODS when the MASSES could not READ the HOLY BOOKS. In this song, the BHARATANATYAM [in the yellow costume] is mainly 'NRITTA' which is NOT TELLING a STORY it is just SHOWCASING MOVES and ACCOMPLISHED PROFICENCY of the DANCER. However, because there is an element of CABARET in the ORCHESTRATION, there is an element of CABARET in the BHARATANATYAM too. So a REAL PERFORMER of 'DANCE OF INDIA' will dismiss HEMA'S PERFORMANCE as 'Totally filmi style'.

The BLUE COSTUME of some sort of NEPALI SWORD DANCE appears to be totally CINEMATIC in its conception and used as a CONTRAST to the FIRST dance. This DANCE looks INVENTED and not known by HEMA at all.

The dance in the RED COSTUME is again, BASED UPON an INDIAN CLASSICAL DANCE called KATHAK. MALINI'S CLASSICAL TRAINING of the 1960s shows like a lot of 1980s GREAT INDIAN CLASSICAL DANCERS like CHITRA SUNDARUM and TARA RAJKUMAR who were all MIDDLE CLASS EDUCATED WOMEN who STUNNED THE WORLD with their RICH INDIAN CULTURE. HEMA'S KATHAK, although NOT here STUDIED FIELD, has HEAVY MAKE UP, GARISH COSTUME [of INDIAN THEATRE] and AGGRESSIVE AND PRECISE MOVEMENTS of a PERSON who has REALLY TRAINED and REALLY DEEPLY KNOWS the DANCE and DEEPLY KNOWS INDIA.
Today's INDIAN CLASSICAL DANCERS often display a DILUTED WESTERNISED approach.

[NO ENGLISH SUBTITLES, SORRY] RARE 1979 PAKISTANI URDU FILM: GEHREY ZAKHAM' or 'DEEP WOUNDS'. The PASHTO TURKIC STYLE PAKISTANI CINEMA FILM made in PASHTO and URDU. The FILM is based on a PATHAN FEUDAL STORY. The FILM is an EXTRAORDINARY PROJECT based on the TURKIC CULTURE and MUSIC of WESTERN PAKISTAN. The FILM has a SPECTACULAR COLLECTION of UNIQUE SONGS of PLAYBACK SINGERS: NOOR JEHAN and TASSAWAR KHANUM.
KHAARTOUM_LETS_TALK - POLITICS and DAFTNESS
https://www.bitchute.com/channel/khaa...

KHAARTOUM_SINGS - COVER SONGS and ORIGINAL SONGS
https://www.bitchute.com/channel/khaa...

KHAARTOUM_EAST - COMMERCIAL EASTERN MEDIA with ENGLISH LANGUAGE ETHNOMUSICOLOGICAL ARTICLES
https://www.bitchute.com/channel/khaa...

ENGLISH SUBTITLED DRAMATIC 'SILSILA' [1981] SCENE supposedly projecting the off-screen ROMANTIC TRINE relationship between INDIAN SCREEN IDOL: AMITABH BACHCHAN and his real life wife JAYA BADHURI [red and black saree] and alleged on/off-screen MISTRESS: REKHA [white saree]. AMIT [played by BACHCHAN], SHOBHA [played by BADHURI] and CHANDINI [played by REKHA].

'SILSILA' FLOP to CULT
In 1981, 'SILSILA' used then NOVEL and OUTLANDISH PRODUCTION IDEAS:
- DIVINE LOCATIONS like TULIP GARDENS of THE NETHERLANDS and KASHMIR
- EUROPEAN RECORDING STUDIO and ENGINEERS
- REAL LIFE SCANDAL-to-CINEMA plot line
- TOP BILLING ACTORS
- MOST BEAUTIFUL ACTRESSES
- STUNNING MAKE UP and WARDROBE
- SUPERB POETRY and MUSIC DIRECTION
- The BEST of PLAYBACK SINGERS
- USE of INDIAN FOLK SONG and ACTORS SINGING
- DAZZLING LOVE SONG PICTURISATIONS that engrave the heart...

YET in 1981, INDIAN AUDIENCES made 'SILSILA' a FLOP of the year? Cinemas recorded poor ticket sales and repeat ticket sales? The film did make back its production costs but large profits were not recorded at home or abroad at the time of initial release.
HOWEVER, in later times 'SILSILA' became an absolute CULT CLASSIC MOVIE in the PSYCHE of INDIANS and made further profits from re-screening?

WHY DID 'SILSILA' FLOP?
- MAYBE so many entertaining films were being released made too much choice?
- MAYBE the film was too RADICAL in its ideas, like ADULTERY?
- MAYBE the INTERNATIONAL angle did not appeal to a then INSULAR INDIA?
- MAYBE audiences were weary after a decade of AMITABH-REKHA starrers?
- MAYBE the film was AHEAD OF ITS TIME beyond the ken of the audiences?

REKHA
Most certainly, the peak of REKHA'S CAREER was certainly in 1980, playing the kidnapped teenager of MUGHAL INDIA who was trained as the PALACE DANCER: 'UMRAO JAAN'. The stunning KATHAK DANCES in MUSEUM COSTUMES portraying the trade in KIDNAPPED GIRLS-to-COURTESANS and the hidden inner life of the character, a BUTTERFLY of such BEAUTY, VOICE, DANCE and POETRY, who sings the story of her life, "I have travelled and never found my love. But I have seen so many things that I would never have seen. But my search for my love was in vain". The BEAUTY and TRAGEDY of 'UMRAO JAAN' was REKHA'S FINEST ACCOLADE. The FLOP of 'SILSILA' the following year, plus maybe discomfort or criticism of REKHA with regard to the alleged REAL-LIFE ADULTERY between AMITABH and REKHA may have contributed to REKHA'S gradual slide from fame in the 1980s. Of course, JEETENDRA'S 'NEW WAVE' films with SOUTH INDIAN HINDUISTIC/NATIONALISTIC THEMES took hold from 1982 onwards, further dislodging REKHA and AMITABH...The two NEVER APPEARED IN A FILM AGAIN AFTER 'SILSILA'...Another theory put forward about the demise of REKHA was that her ascent to maybe THE MOST BEAUTIFUL WOMAN IN THE WORLD, which she must have been at least near in the 1970s and 1980s, was a by-product of this alleged LOVE AFFAIR, or INFATUATION with BACHCHAN, commentators point out that after 'SILSILA' and the divide, REKHA'S COSMETIC BEAUTY REMAINED but somehow the INNER BEAUTY SEEMED TO FADE IN HER and an ALONE and RECLUSIVE REKHA emerged to this day?

THE MYSTERIOUS INDIAN STARS up to 1980
One of the devilishly delightful things about the DOLL-LIKE INDIAN STARS up to the 1970s was the fact that they were SO REMOTE. Like the 1950s stars of HOLLYWOOD...The HINDI FILM STARS were NEVER SEEN by the AUDIENCES in PUBLIC. Of course we read interviews with them in 'STARDUST' and 'MOVIE' covered by immaculate and implausible photographs of them on screen which hightened their ELUSIVE SUPERHUMAN status for the imagination. BUT HINDI STARS KEPT OUT OF THE PUBLIC EYE...AND IT WORKED! We were fascinated by the fact that we never heard them speak or do any medocre act.

REKHA herself was excellent at this. She gave many opportunities for PHOTOGRAPHS at official openings or on the sets. The PHOTOGRAPHS were obviously CONTROLLED and SELECTED for publication by the STUDIO and ACTRESS. REKHA also had a selection of incredible CLASSICAL PHOTO SHOOTS done for SAREE COMPANIES in the 1980s that were works of art, divine and of course UNREAL. All of this promoted the MAGICAL INDIAN FILM STARS...

1981: THE BEGINNING OF THE END OF THE INDIAN STAR?
THE NETHERLANDS song shoot brought the 'SILSILA' crew and ACTORS to EUROPE... This was the first time the 'MAGICAL' HINDI STARS seemed to have done this. One venue was WEMBLY in LONDON where a huge crowd turned out in 1981 to see and photograph their 'beloved' GODS... This, however damaged the 'MAGICAL' STATUS of its stars. FILM MAGAZINES displayed an array of WEMBLY photos...but what we could see were ORDINARY PEOPLE.REKHA appeared to have little make up on, was a tiny and quite burnished woman [REKHA always appeared PALE like a HINDU GODDESS]. Her hair was scraped back severely into a bun as it was windy. She had on a large plastic sunglasses and was lost among the crowd of other crew waving in the wind of

This is a hilarious comedy song from the uplifting and manic Egyptian Cinema Film 'Aasker Fi Al Moasker' ['Soldier in the Army']. The crazy story centres on 'Khedr El Gebaly' [Mohammed Henedy] who is a naive Upper Egypt boy in the army. He marries Saadiya [Lekaa El Khomaisy]. Khedr meets 'Metwaly El Zanaty' [Maged El Kedwany] on a train on one of the many journeys to the village. Metwaly is pressured by family feud to kill Khedr as revenge on the Gebaly clan. The film is Khedr and Saadiya escaping the murder attempts by a less than keen Metwaly. We end up at The Sheherezade Club in this clip where Khedr and Saadeya need to take refuge with his Uncle Hassan [Salah Abdulla] who said he was a 'history teacher' but actually promotes cheap perfumes with the belly dancer that he lives with...

ORCHESTRATION
The song is basically a spoof of a SHA'ABI [Egyptian 'music of the people' a little like Rap as a protest and satire of bad behaviour in society]. The song makes a comedy of the way that Sha'abi song are used, particularly in Egyptian films - so it is a complex comedy of a form which creates satire and parody...

The song is a comic PASTICHE [song in the style of] of a Cairo belly dance cabaret night club song. The song basically a Sha'abi rhythm track for dancing with longer bridges for the comic dance sections and Henedy's antics to attract his uncle's attention.

The rhythm is mostly provided by an electronic drum beat from a keyboard. This is embellished with the usual SAJAT or ZILLS [small metal cymbals] that are played in a fast repetitive rhythm and give the higher REGISTER [pitches high, medium or low]. There is also some use of DARBOUKA [A vase drum] and FRAME DRUM [skin over a frame like a tambourine with no metal discs]. The PERCUSSION [instruments you hit] drop in and out of the rhythm pattern for variety]. The drumming solos in the bridges offer comic dance and comedy opportunities as well as relief from the singer.

The melody is basically ACCORDIAN [a western keyboard instrument with bellows that is detuned in octaves with a 'tangy' sound that works well in Arabic music]. This interplays with some keyboard sounds like accordian that give the cheap thin sound of contemporary Sha'abi'. The accordian also plays some rhythmic solos in the bridges in the bridges for comedy more than musical 'meaning'!

The singing is deliberately very poor to indicate the voice quality of a number of well-loved Sha'abi stars in Egypt. The backing singers interact with the vocal and instrumental solos. This is done for relief but also sarcastically silly and bad to imitate a lot of backing singers in Sha'abi songs plus to make the perfume-selling song 'Kolonia' sound more daft.

The song is quite short because it is just meant as a comedy relief in a long film. These short songs are often used in Egyptian films for this reason.

VIDEO
The video is wonderful! The whole club is made to look seedy and gaudy. The red seedy walls and furniture and the green and mixed colour outfits clash superbly. The backing singers all look out of place, are the wrong age and appearance and are not taking anything seriously. The pumping cheap perfume as chirping in the chorus is an amusing touch.

Henedy and Khomaisy do a great job in their 'inappropriate' traditional clothes that can often result in refused entry into nightclubs and restaurants in cosmopolitan Cairo. The Arab audiences understand a lot of the rule breaking behaviour thus the great success of these comedies. The shouting and screaming over the night club is a good touch, as is the laughing taxi driver motif that repeats over the movie.

The dancer is just 'out of control' and hilarious in a backdrop of Cairian society. Again, this is a parody of famous belly dancers like the rustic Fifi Abdu or Nagwa Fuad, but their rural charm is taken 'just a bit too far' and makes for mayhem and hilarity.

The filming is nice, one camera, but lots of nice colouful shots that give variety and clever sarcastic imitations of Sha'abi film songs.

'LUSTFUL MADNESS' is a FAB INDIAN FILM SONG from 1981 HINDI LANGUAGE FILM 'PROFESSOR PYARALEL'. The WESTERN EDUCATED INDIAN ACTRESS: ZEENAT AMAN MIMES and DANCES the SONG on a HIGH BRIDGE as an ACTRESS in a FILM. PLAYBACK SINGER: ASHA BHOSLE sings the TRACK for ZEENAT AMAN to LIP-SYNCH.

KHAARTOUM_LETS_TALK - POLITICS and DAFTNESS
https://www.bitchute.com/channel/khaa...

KHAARTOUM_SINGS - COVER SONGS and ORIGINAL SONGS
https://www.bitchute.com/channel/khaa...

KHAARTOUM_EAST - COMMERCIAL EASTERN MEDIA with ENGLISH LANGUAGE ETHNOMUSICOLOGICAL ARTICLES
https://www.bitchute.com/channel/khaa...

'SPIRITUAL PEOPLE' is a COMIC but TELLING SUFI SONG with BELLY DANCER: QAMAR sung with SHA'ABI SINGER: MAHMOOD EL LEITHY. SHA'ABI is ARABIC POPULAR MUSIC like RAP. It is POLITICAL PROTEST MUSIC that USES COMEDY and 'WORD SALAD' to INDIRECTLY SATIRE CORRUPT POWER and EVILS IN SOCIETY from the LOWER CLASS. 'HASEL KHER' [2012] is a LOONEY FILM like 'FAWLTY TOWERS' going through LOVE and LUST with a lot of HILARIOUS SHA'ABI SONGS that EXPOSE the 'ARAB SPRING' ANGER of the TIME against INTERNATIONAL and NATIONAL SUPPRESSION and CORRUPTION.

KHAARTOUM_LETS_TALK - POLITICS and DAFTNESS
https://www.bitchute.com/channel/khaartoum_lets_talk/

KHAARTOUM_SINGS - COVER SONGS and ORIGINAL SONGS
https://www.bitchute.com/channel/khaartoum_sings/

KHAARTOUM_EAST - COMMERCIAL EASTERN MEDIA with ENGLISH LANGUAGE ETHNOMUSICOLOGICAL ARTICLES
https://www.bitchute.com/channel/khaartoum_east/

THE UNIQUE COLOURFUL MAD MAD MAD MAD MAD MAD WORLD OF PUNJABI CINEMA. [NO ENGLISH, no time to subtitle!] Here is one of the great losses to Art as Pakistani Cinema is destroyed by 'FEAR OF BEING RURAL' of the Youth and Elite, plus selling-out to B-Grade Indian Films forced into Pak Cinemas... But, we still have our videos of the Great Days of Pakistani Cinema like this one... 'Mullan Muzaffar' [2004]... A story of 'dacoits' ['bandits'] involved in crime and debauchery...here they have a number of MUJRA [entertainment dance linked to The Mughal Empire Palaces] dancers played by the Punjab's Leading Ladies: Saima ['Queen of the Punjab'][Pink], Khushboo ['Queen of Mujra'][Yellow] and Nirma[Blue]. The MUJRA shown here is more influenced by Pushto Cinema in Peshawar where a more BELLY DANCE form of MUJRA is common due to proximity to The Middle East. The KATHAK [court dance with flared skirt and trousers with ankle bells featuring spins and foot stamping] of Northern India has all but disappeared from Pakistani films and MUJRA in the last 20 years, replaced by Pathan-style dancing.

ORCHESTRATION
The main feature here is CHEAP DIGITAL RECORDING and the REPLACEMENT OF ORCHESTRA WITH DISGUISED KEYBOARD. Both of these features aimed at saving money may have cost the Pakistani Film Industry its life as music quality deteriorated and vulgarity and violence increased.

There are a number of problems using a KEYBOARD to represent the live orchestra. The first is that the electronic sounds are DEAD. The music is MONODY [melody and drums] without HARMONY [organised multiple melodies] to rely on for MODULATIONS [change of scale] so the need for REFRESHMENT through rotation of ACCOUSTIC [live] sounds is acute. The KEYBOARD just provides a repeated preset DEAD TONE at a variety of pitches - this does not REFRESH and the 'DEAD' response transmits to the listener - the audience may not know they are hearing a disguised KEYBOARD by they know something is 'wrong' with the music and it is 'cheap' and 'unsatisfying' and unlike the earlier 'good' orchestral songs of the past.

TUNING [how pitches are fixed for SCALES] is also a problem. The KEYBOARD has two tuning issues. Firstly, the KEYBOARD is a FIXED PITCH INSTRUMENT [the notes are fixed and have no vibrato or variation of pitch] - Music of the SubContinent is not FIXED PITCH. There is a liking for SLIDING onto notes rather than FIXED PITCH. So the KEYBOARD imposed a framework of pitches that are not natural for the indigenous way of making music historically. VIOLINS were used before which SLIDE to pitches like traditional SITARS [lutes] and SARANGI [Indian Cello]. KEYBOARD 'violins' don't SLIDE because they cannot, rather they stutter from one FIXED PITCH to another. Secondly, the KEYBOARD uses Western EQUAL TEMPERAMENT [a mathematical system where every half note is exactly the same distance away from each other that is 'out of tune' with natural note harmonics and singing]. This TEMPERAMENT is a different TUNING and mentality to Asian MONODIC music. The singers and composing are being stretched over a framework of inappropriate pitches that are fixed in a way that does not blend with the traditional way of approaching pitch using NON-FIXED-PITCH voices and instruments like the SARANGI.

The result of KEYBOARD makes an URBAN [city] sound of music from TRADITIONAL and RURAL [countryside] mentality of writing and performing music. The two systems clash and very few songs can shine through this attempt to save money to make money. Hence the fall in music sales and music consumption from Pakistani Films over the last 20 years. It may have been better to keep the string orchestras to protect the quality of the film music - this may have generated more revenue?

There is attempts in these songs to preserve some of the great PERCUSSION [instruments you hit] of The Punjab. In this song there is some great Punjabi drumming on DHOLAK [Punjabi 'wedding' double-headed hand floor drum]. There are some great rhythm pattern passages for the gals to dance to. There are also short passages of traditional FLUTES. But it is not enough really. It is the VIOLINS that are necessary here to refresh. The KEYBOARD strings are heavily REVERBED [electronic echo] which may deceive the ear a little but the effect is that the song souncs 'FLAT'/'DEAD'.

The singer is Azra Jehan but her voice, not the best for Punjabi films at the best of times, has been TRIPLE TRACKED to save money. So all three actresses sing with the same voice. Again, this sounds 'wrong' and 'flat'.

***NO ENGLISH SUBTITLES*** [Sorry, will take too long to put them on!]
سلطانة الطرب. فيلم مصري عربي كامل. بطولة شريفة فاضل. حياة منيرة المهدية
'SULTANA AL TARAB' or 'QUEEN OF SONG' as a FULL FIL .Egyptian Singer SHARIFA FADEL plays Ottoman Singer MOUNIRA EL MAHIDIYA [1885-1965] in the 1978 film 'SULTANA AL TARAB' ['QUEEN OF SONG']...

MOUNIRA EL MAHIDIYA was an important pivotal singer in Egyptian Culture. MOUNIRA was part of THE OTTOMAN EMPIRE, part of TURKISH MUSIC in Egypt. However, the ARABIC versions of this OTTOMAN MUSIC had been changed to fit Arabian tastes and performance preferences. This is why MOUNIRA EL MAHIDIYA'S music is such an important bridge between TURKISH and ARAB CULTURE.

EGYPTIAN singer and actress MOUNIRA EL MAHDEYA had been EDUCATED by NUNS and SPOKE FRENCH. She LEARNED to SING ITALIAN OPERAS which became POPULAR in CAIRO. Prior to MAHDEYA, CHRISTIAN or JEWISH ACTRESSES performed on the STAGE. MOUNIRA was the FIRST MUSLIM ACTRESS. She BEGAN to RECORD GRAMAPHONE RECORDS of the EGYPTIAN-STYLE OTTOMAN MUSIC in ARABIC. The SINGER even PERFORMED for TURKISH REPUBLIC leader: KEMAL ATATÜRK [1881-1938].

MOUNIRA EL MAHDEYA paralleled her AMERICAN contemporary socialite GERTRUDE STEIN [1874-1946] whose HIGH SOCIETY PARTIES connected and promoted NEW ARTS like PAINTER: PICASSO [1881-1973] and writer HEMMINGWAY [1899-1961]. Both of these ARTSY WOMEN CHANGED SOCIETY bringing CHANGE, FEMINISM, WRITING, PAINTING and MUSIC by INTRODUCING these BOHEMIANS to EACH OTHER and to their OUTER SOCIETY. Curious PARALLEL so far away EGYPT to USA!

It must be remembered that MOUNIRA EL MAHIDIYA'S career was at the time of rise of the GRAMAPHONE and later the CINEMA. A wide audience of ARAB COUNTRIES had to be accomodated from EGYPT because CAIRO was the only ARABIAN city with western INFRASTRUCTURE in place at the turn of the 20th Century able to produce commercial Arabic popular music and cinema.

MOUNIRA'S style was steeped in OTTOMAN MUSIC but that 'oriental' music had to be EGYPTIAN-ISED in FORM and STRUCTURE by composers like SAYED DARWISH [1892-1923]. Link: http://en.wikipedia.org/wiki/Sayed_Darwish

The TURKISH music was changed by the EGYPTIAN composers thus:METRE [number of pulses per bar] was changed as it affected PHRASE LENGTHS, EASE of PERFORMANCE, EASE of LISTENING and COMPREHENSION of LYRICS. OTTOMANS often preferred IRREGULAR METRE of 5/7/9/10/11 etc. EGYPTIANS changed the METRE to REGULAR 3/4/6 pulses per bar.

SONG FORM and STRUCTURE can be IRREGULAR in OTTOMAN MUSIC, due mainly to use of IRREGULAR METRE and OTTOMAN preference for ORCHESTRAL SOUND rather than listening to LYRICS, which EGYPTIANS tended to appreciate but found difficult when musical phrases and overall FORM were IRREGULAR and ASYMMETRICAL.

SCALE [sets of notes to make a melody] were more STANDARDISED by EGYTIANS to ARABIC SCALE rather than the sets of QUARTER NOTES with history in ASIA from THE OTTOMANS. Again, the simplification and comprehension of performance of vocal music may have been the aim.

MUSICAL PHRASES were also STANDARDISED by EGYPTIANS. This was achieved by using regular METRE. Using IRREGULAR METRE tends to make PHRASES sit 'awkwardly' in time requiring use of IRREGULAR PHRASING of long and short PHRASES to make up 'missing' beats of IRREGULAR metre.OTTOMANS, tending to be attracted to MUSICAL SOUND-SCAPES appreciated these unpredictable features, but the EGYPTIANS tend to prefer LYRICAL MUSIC with focus upon WORDS, so STANDARD SIMPLE PHRASES were a necessary modernisation of the TURKISH model.

Singer SHARIFA FADEL had obviously listened carefully to 78rpm records of MOUNIRA EL MAHIDIYA singing and painstakingly learned to imitate her style with skill. The songs of 'SULTANA TARAB' film may be the finest performances of her career?

MOUNIRA EL MAHDEYA died in 1965. She was ECLIPSED by the 'young upstart', THE FIRST LADY OF ARABIC MUSIC, OUM KALTHOUM [1904-1975]. There was reported rivalry between the two DIVAS. But OUM KALTHOUM was the same OTTOMAN LEGACY of TURKISH MUSIC in ARABIC that was, in many ways, MORE TURKISH than MOUNIRA in its LOW CONTRALTO FEMALE VOCAL that is ALIEN to EGYPT but found in even MODERN TURKISH ART MUSIC like MUAZZEZ ERSOY [b. 1958] and FOLK ARTIST BELKIS AKKALE [b. 1954].

The 1982 Indian film 'ASHANTI' ['UNREST'] **SORRY NO ENGLISH SUBTITLES**. Based on 'CHARLIE'S ANGELS' has INDIA'S great three MUSLIM ACTRESSES MAKING COMEDY: Shabana Azmi, Parveen Babi and Zeenat Aman. The FILM, however, has been CENSORED Online. Especially this scene of dressing up in their yashmaks make a comedy to trick an orphanage to give up two kidnapped children. Shabana Azmi plays the LADY, or BEGUM SAHIBA, Parveen Babi [first on the scene] and Zeenat Aman play the LADIES IN WAITING. The COMEDY around MIDDLE EASTERN DRESS in the 1980s was 'ACCEPTABLE'. With British Empire Wahabism and the Western promoted 'Islamic Shia Revolution of Iran' brought a lot of intolerance in the current times. ASHANTI, the film and especially THIS SCENE of MIDDLE EASTERN SATIRE, is CENSORED by INDIAN ACTOR SHARUKHAN'S media company RED CHILLIES. 'BLOCKED WORLDWIDE'. Political and religious censorship from one of the Subcontinent's main actors in Bombay Cinema.
The songs of ASHANTI are available Online, but the film and the comedy scenes of the burkhas and the comedy where the same Muslim actresses are in tiny shorts in the massage parlour are censored...

KHAARTOUM_LETS_TALK - POLITICS and DAFTNESS
https://www.bitchute.com/channel/khaartoum_lets_talk/

KHAARTOUM_SINGS - COVER SONGS and ORIGINAL SONGS
https://www.bitchute.com/channel/khaartoum_sings/

KHAARTOUM_EAST - COMMERCIAL EASTERN MEDIA with ENGLISH LANGUAGE ETHNOMUSICOLOGICAL ARTICLES
https://www.bitchute.com/channel/khaartoum_east/

'ÇAK ÇAK!' is a RIDICULOUS UPLIFTING SONG COMMENTING on SNOBBERY in TURKEY in the FILM: 'ABÜZER KADAYIF'[The name of a fictional Arabic-Style Turkish Singer, and the name of a Turkish PUDDING] from 2000 is an example of the dramatic changes appearing in Turkey and Turkish Cinema over the last 10 years. SORRY NO ENGLISH SUBTITLES.

'Abüzer Kadayif' is a complicated light comedy on the surface about a mischevious university lecturer [Metin Akpınar] who, for fun, creates an 'Arabesk Babası' [A 'father'-like singer of Turkish popular music in the style of Arabic Music]. However, the singer he dresses up as becomes incredibly popular in a way that 'Arabesk Babaları' ['Arabesk Fathers'] can... It is the struggle with the 'fame' of 'Abüzer Kadayif', balanced with the quiet life of a popular elderly college teacher.

A recent comment on 'Yazı Tura' ['Heads or Tails'][1999] made a relevant point: "Turkish films are still not 'International Cinema'.." - Meaning that Turkey is a complicated country with complex society and history, one needs to know a bit about Turkey to completely grasp the references in movies from and about the Turks.

'Abüzer Kadayif' is no exception. The deeper plot of 'Abüzer' revolves around aftershocks of rapid urbanisation of Turkey and legacy of two decades of art and media that was devoted to the pain and celebration of the migration from rural life. Now in the cities, that rural life and two decades of folk dance and countryside singers are some source of 'discomfort' to some strands of Turkish Society, particularly the urban Youth who appear to need to be seen as 'American' for some reason?

The 'Kadayif' movie creates an Arabesk star like Müslüm Gürses or İbrahim Tatlıses who had unbelievable power and popularity in the 1980s. Now, the melancholic Arabesk is a reminder of a rural life, a peasant Turkey that now makes parts of Turk Society shudder with 'shame'. Yet, just a couple of decades ago this kind of singer was like a 'father' or 'king'. The Arabesk singer, like the Spanish Flamenco singer, could make the people cry and weep. The decades ago youth would cry so much that they would self-harm by cutting their arms with razor blades. It was common to see youngsters with very scarred arms. This Arabesk Culture may have had some vague connection to Sufi Islam?

'Abüzer Kadayif' is a film that really laughs at contemporary Turks and their perceived 'Countryside Terror' which is articulated in one word in the cities now: "Kro". The word 'Kro' is apparently from Kurdish meaning 'Brave Man' but it is used as a put-down to mean countryside people who migrate to the towns for work. They are characterised as wearing guady clashing clothes and white shoes with bad teeth plus low manners....

'Abüzer Kadayif' is just such a 'Kro'. His bright 'Cafcaflı'[over -the-top] clothes, white shoes and rural speaking of "Ay-yee!" and various references to God's Blessings are a hilarious tease on what 'City Folk' Turks really hate in countyside manners. It is a harsh satire of all the countryside roots and migration pain, and maybe in some ways, regret of the loss of that simple life and rich Turkish Heritage that Globalisation has swept away...

The word 'Kro' was such a strong put-down by the city middle classs, aimed at destroying Arabesk and rural culture in the cities, that eventually the Turkish Government made it a crime to use the word 'Kro' to describe anyone.

But, the damage was done.. by ONE WORD: 'Kro'. Therefore, any music or dress that was 'Eastern' or 'Rural' was frowned on and removed from the culture and became a 'shame' to be connected to....Thus 20 years of Ankaralı Havası [A folk pop genre 'The Wind of Ankara']; Arabesk; Karadeniz [Black Sea folk pop]; Halk [Folk pop] and the Sanat Music [Turkish Art Music - A kind of oriental palace music in a pop form] that had been so popular were either destroyed or santised to a point that and 'culture' was neutral...Strangely, the 'pop' genre itself, which was always clearly 'pop' added a very 'Arabic' sound which debased Turkish pop as some thing more like 'Weak Arabesk'??

Further to this Arabesk Music and the 'Babalar' were officially 'removed' from the street by a law from the Turkish Government that: "Prohibits bus and taxi drivers from playing cassettes in their vehicles. Only the radio [Turkish sanitised pop] may be played..."... Like the 'Smoking Ban' in public places, there is an 'Arabesk Ban' across Turkey too...

Hence the satire of film 'Abüzer Kadayif' which is looking at contemporary Turkey and its 'Arabesk Phenomenon' which has been forced to Americana. Then looking further back to the formation of The Turkish Republic which lost Turkey its Ottoman writing and poetry, plus hats, clothing, social order and Sufi Cults...

TWO ROUGH and READY FAKE 'BRIDES' posing as FAKE 'COUSINS'. ONE SUPPOSED to BE JAPANESE, 'OSHEEN', and the other ONE, 'REDA', is NOT EVEN A WOMAN! They COMPETE to become WIFE of the TEMPORARILY INSANE 'KARKAR' who has LOST HIS MIND being ELECTROCUTED so his MANSIONS and MILLIONS INHERITED from his UNCLE are UP FOR GRABS by the most 'BEAUTIFUL' BRIDE-TO-BE...In this OUTRAGEOUS SURREAL SCENE the two 'GALS' have to SHARE a BEDROOM in the KARKAR MANSION...

ARABIC FILM of 2007: 'KARKAR' ['EXPLOSIVE LAUGHTER'] was the CINEMATIC CLIMAX of ACTOR MOHAMMAD SA'AD'S brutally INSULTING and SOCIALLY ACTIVATING 'SHA'ABI' SATIRES of MIDDLE EASTERN SOCIETY beginning in 2002 with 'AL LIMBY'. 'KARKAR' EXPRESSED the PSYCHIATRIC MANIA of DISCONTENT of THE EGYPTIAN PEOPLE in this FORCED COMEDY SHA'ABI CIRCUS at a time when there was NOTHING to LAUGH at in EGYPT LIFE. 'KARKAR' was the CATALYST TOUCH PAPER for the COUNTDOWN of EGYPTS 'ARAB SPRING' that BROUGHT DOWN the MUBARAK GOVERNMENT. USHERING IN a few FLEETING MONTHS of ACTUAL DEMOCRACY for the EGYPTIAN PEOPLE, be it under a FAILING and INCREASINGLY CHAOTIC 'MUSLIM BROTHERHOOD' GOVERNMENT.

The FILM is SHA'ABI. Sha'ab being 'the people' and Sha'abi being a kind of music and film culture aimed at the lower classes that poses as innocent comedy but hides political messages on society behind the mask of laughter.

SHA'ABI CINEMA and MUSIC are generally LOATHED by the ASPIRING CLASSES as it is a kind of REMINDER of RURAL ROOTS and a lot of FAKE LIFE of the MIDDLE CLASSES in the MIDDLE EAST. The REVIEW for 'KARKAR' is very UNBALANCED in ENGLISH by an EGYPTIAN. However there is a LACK of COMPREHENSION by the WRITER about the SOCIOLOGICAL IMPLICATIONS of a film like 'KARKAR'. Only the DEEP CLASS SYSTEM DISCOMFORT and COMPARISON with WESTERN MEDIA is CONSIDERED by this kind of REVIEWER: http://www.imdb.com/title/tt5870646/

'KARKAR' is like many EGYPTIAN FILMS. BEHIND the COMEDY, one feels like one is being TAKEN TO COURT in the CINEMA. The SATIRE creates GROTESQUE REFERENCES to CORRUPTION and BAD BEHAVIOUR in EGYPTIAN LIFE and CHIDES the AUDIENCE for so much of SOCIETY being such a MORAL FAILURE.

THEMES of 'KARKAR':
- GREED for INHERITANCE
- SELFISHNESS
- VAST EXTREMES PEOPLE GO FOR MONEY
- DECEPTION and FALSE APPEARANCES
- LACK OF EMPAHTY
- GOOD TRIUMPHING OVER EVIL

STYLING
MOHAMMAD SA'AD is said to have IMPROVISED a lot of SCRIPTS and PERFORMANCE on CAMERA. This is in line with UK DIRECTORS like MIKE LEIGH [b.1943] who SCAFFOLD FILMS but SHOOT in SEMI-IMPROVISATION because they feel that REHEARSAL makes for MECHANICAL ACTORS. The UK and EGYPT both have SIMILAR APPROACHES to BRUTAL SATIRE and USING MEDIA as a 'MIRROR TO SOCIETY FOR SOCIAL CHANGE THROUGH COMEDY + POLITICS.

YASEMIN ABDEL AZIZ has great APLOMB for SHARP LOW CLASS COMEDY. The DOUBLE EDGED of AZIZ shows the BRUSQUE HUMANITY of LIFE ON THE EDGE for EGYPT'S POOR through the HILARIOUS SUDDEN CONTRASTS in VOICE TONE and VOCAL MANNER! SA'AD HAMS up his PERFORMANCE in DRAG as a MONSTROUS CARICATURE of a 'HEROINE OF THE GOLDEN ERA OF MELODRAMATIC EGYPTIAN CINEMA' like LAILA MURAT in PRICELESS LAMPOON!

EDUCATIONAL PURPOSES - MEDIA STUDIES - Fair Use

**Sorry NO ENGLISH SUBTITLES** NARGIS was the 1990s 'Queen of the Punjab' in Mujra Dance and Cinema scene on the Lahore side of Pakistan. Nargis has a kind of rural charm and urban appearance, the colourful clothes are a mix of Punjabi 'bling' and Pathan Belly Dance.

Apart from Cinema and Mujra DVDs, Nargis performs in Punjabi Stage Shows which she has been 'banned from the theatre for insulting public decency by deviating from the script in vulgar words and actions'[!] - reported in the newspapers frequently. Nargis was reported in the papers as once replying, "I have friends in high places - I'll be back in the theatre tomorrow"...and apparently she was... There is speculation that dancers such as Nargis are powerful women as they dance for the elite and high society and can garner favours from such 'friends in high places' and influence them... Maybe this is just gossip...maybe not..

Pakistan's Mujra-walis seem to have a similar relationship with the people and the government.

ORCHESTRATON
This song is a remix re-recording of a Punjabi film song 'Harey Rang Diyan Wangan' which was sung by Noor Jehan onto the face of Sangeeta in the 1985 movie 'Mehndi'['Henna'].

The song is sung by Punjabi film singer: Nooran Lal, sister of the world famous Pakistani film singer: Naseebo Lal

The music style has changed due to economics. The film industry used to make a lot of money, so full orchestra of drums and strings etc. made up the original song. The Mujra Industry is on limited DVD profits, so the song is produced cheaply on a keyboard and computer. The PERCUSSION [instruments you hit] does include an ACCOUSTIC [live] selection of traditional drums including DHOLAK [Double headed hand floor drums from Punjabi Music] and a drum hit with a stick. Both are DOUBLE TRACKED [recorded several times to sound like more than one] for TONE MASS [thickness of sound]. The drums play along to an electronic drum beat and create a Punjabi 'techno' rhythm with some creative FILLS [rhythmic full stops].

The voice is very weak in terms of the great heritage of Pakistani singers, but finances and also Globalisation is 'neutralising' music everywhere. The sound is lighter and different to the older heavy Punjabi song and is fun with the visuals.

The melody is very SYNCOPATED [off-beat] and the vocal and the drums pull against each other to resolve the SYNCOPATION to stable on-beat points thoughout the song. It is quite spectacular and offers good opportunites for Punjabi Bhangra and Pathan Belly Dance shakes.

VIDEO
Mujra has really evolved in Pakistan over the last decade. Lahore used to be influenced by KATHAK [palace dance with spins in flares skirts and trousers with ankle bells]. This Nargis Mujra is very much from Pushto Films in Peshawar both in costume and moves. This is much more Belly Dance from Pathan's Middle East influenced culture. The KATHAK previously needed skill, delicacy and training. This current wave of Mujra takes less skill and is often decribed by some people as 'vulgar'. Mujra on video and in the theatres is big business in Pakistan and tends to fly in the face of some more conservative trends growing in the country.

Nargis is outrageous as she can be, like all good Mujrawalis. She is rural and coarse and funny like Fifi Abdu, Cairo's risque and 'countryside beauty' Belly Dancer.

Mujra in Pakistan has a long history and with modern technology has developed and modernised into a very popular art form and entertainment.

Khaartoum East acts as an educational archive of rare commercial East-West artists plus a showcase for Khaartoum songs by my friends and I, or just myself, inspired by East-West media. The aim is to inspire composers with commercial forms in national styles.

FOR EDUCATIONAL PURPOSES - FAIR USE

'VIZONTELE', made in 2001, was the most successful Turkish Film ever screen in the cinema. Why? Mainly, because it approached a lot of issues in the psyche of people in Turkey, namely: NOSTALGIA; CULTURE; TRADITIONAL DRESS; TRADITIONAL LIFE; LOSS OF TURKISH CULTURE; LOSS OF COMMUNITY; FAMILY LIFE; FEAR OF CONSCRIPTION; FEAR OF SEPARATION; GOVERNMENT CONTROL; ONE-UPMAN-SHIP; INSINCERITY; BETRAYAL; GOSSIP; DRESSING WESTERN; BEING 'FASHIONABLE; FALLING IN LOVE; LOSS OF LOVE; ARRANGED MARRIAGE; THE KURDISH WAR; CYPRUS; GREECE; REGRET; DEATH; SUPERSTITION; MELANCHOLIC; NAIVITY; KINDNESS; RELIGION; HOPE: CHANGE...All of these things make up People and Life in Turkey...

***SPOILER***[Don't read further if you do not want to spoil the film clip]

'VIZONTELE' was based upon writer, director, actor, producer Yılmaz Erdoğan's experience of growing up in the moutainous eastern extreme of Turkey's geography, Hakkâri, a predominantly Kurdish city on Iran's border.

The film is set in 1974 when electrification of East Turkey was complete and the govenment had a project to deliver a new television to the mayor of every city in Turkey to air Turkish Government Turkish Television Stations to the populous. However, the officials completing difficult drives to these remote places often were not keen to hang around. In the case of this television presented to the Mayor of Hakkâri, the government representatives only gave the mayor and villagers a quick description of this glass screened new machine that the people had never seen before..."Plug it in and set it up in a high place with the ariel plugged in"...Then they sped away into the hot distance in their dusty jeep...The locals were left with the...What?...What was it called?...The VIZONTELE? [Nobody remembered what it was called and they had never seen a maching like this one before that 'sent pictures' from an ariel]...

The suface story of the film is a bewildered Mayor and his staff's hilarious attempts and failures to demonstrate the working 'VIZONTELE' to the town, but not having any instructions or idea about how to get the machine to work.

The deeper symbolism of the television is the drastic changes that outside cultures have had on Turkish Life. Some good in terms of development and education, information and political change. But some bad, the erosion of Turkish Culture, the breakdown of family life, religion plus the imposition of a quickened pace of life that may not really suit the slower Middle Eastern nature of life in Turkey.

VIZONTELE CLIP
Our clip is the end section of the film...The bungling mayor and his companions have tried several times to publically demonstrate television to the townspeople and it has either not worked or generator burst into flames and so on, shaming the mayor. As the extract opens the mayor and co. have been up to the highest part of the town, i.e. the mountain, the television did actually work, however, it showed "Iranian VIZONTELE" not Turkish...So our would-be-TV-mechanics come down the mountain depressed...A local policeman fiddles with the television set on the back of the lorry and actually CHANGES CHANNEL, which nobody knew to do...Hey, presto, HARIKA! ...Black Sea Wedding Dances from Turkish Television...Suddenly, how to operate the VIZONTELE is understood!

The townsfolk gather at the mayor's house for an official first VIZONTELE evening...Latif, the local cinema owner is pessimistic about the television as his theatre is empty...Gathered together, the town watch the television news about War with Greece in Cyprus...A huge silence takes over the room as the mayor and his country bumpkin wife Siti realise that their worst fear has come true through dreaded CONSCRIPTION, their sun Rifat is pictured as one of three soldiers killed in Cyprus.

A dramatic scene shows the varying reactions to the deaths using a lot filming techniques like booms and sweeping shots that had rarely been seen in Turkish films before.

Siti then exposes SUPERSITION and evidence of the RELGIOUS vs SECULAR arguments of The Turkish Republic by taking the television, the last place she sees an image of her son Rifat's face, up to the mountain to bury it. Hence refering to some ceremonies and conventions of Islam and maybe some aspects of possibly SHAMANISM [ancient pre-Islamic religion of worshipping trees, wind, sun, etc.]...Siti sees the VIZONTELE as "the work of the devil" that "took her son"...The traditional vs the modern...

Rifat's fiance is then wed sadly in an arranged marriage...The television is then seen to be dominating life in the city, after only a short time...CHANGE and LOSS of CULTURE...

'VIZONTELE' was deeply successful because of its NOSTALGIA. A lost and lovely rural aspect, a slower life, a kinder gentler people.

Ive ENGLISH SUBTITLED this EGYPTIAN SONG 'WRONG PEOPLE' or 'AL NAS SHMEL'. "DRUGS MORNING"[instead of "GOOD MORNING"], or "MAZAG AL KHER" is the JOKEY TITLE for the ARABIC TV SERIES and uses SHA'ABI SINGER: BAHA SULTAN creating this DARK THEME TUNE to the TV SERIES DRAMATISING EGYPT'S DRUGS, PROSTITUTION and DANCING COMMUNITIES. SHA'ABI is a kind of PROTEST MUSIC with a SIMILAR PHILOSOPHY and FUNCTION to AMERICAN RAP. The VOICES of the POOR RING OUT in SHA'ABI ['Music of the People'] with its DARKLY 'LAUGHING' MUSICAL THEMES expressing the COMEDY and HORROR of the UNDERSIDE of EGYPTIAN SOCIETY. The CORRUPTION, the FAKE RELIGIOUS APPEARANCES of some COPTIC CHRISTIAN and MUSLIMS, the PROSTITUTION, the DRUGS that are MASKED by EGYPT'S CONSERVATIVE EXTERIOR. SHA'ABI MUSIC is a POPULAR FORM often using RURAL STYLE SINGERS and KEYBOARDS that REPLICATE the COUNTRYSIDE FOLK but in an URBAN SETTING.

KHAARTOUM_LETS_TALK - Politics and Silliness
https://www.bitchute.com/channel/EYb0GTLqGBqH/

KHAARTOUM_SINGS - Covers and Composition by K the 'Maestro'
https://www.bitchute.com/channel/khaartoum_sings/

FOR EDUCATIONAL PURPOSES -FAIR USE

This is a stunning film performance of a snatch of the Zeybek 'Hawks' Anatolian folk dance from Western Turkey. The Zeybek is presented in the setting of a traditional Turkish wedding in the Eastern city of Diyarbakır, hence the Western dance is a special and unusual folk style for the marriage guests. The tableaux comes from the superb 2001 Turkish Cinema movie 'Deli Yürek' ['Crazy Heart'] and is performed by the heart-stoppingly stunning 6' 3" Turkish actor Kenan İmirzalıoğlu playing Yusuf Miroğlu. The Zeybek is insisted upon by the groom Cemal [Oktay Kaynarca] at his marriage party to his bride Leyla, played by the talented and innovative Turkish folk singer Zara. Cemal, Yusuf and many others at the wedding work in for the military. Cemal is a target for an assassin during the HALAY [folk dancing]. Yusuf begins a complex and dangerous mission in an unfamiliar area and culture of Turkey to bring Cemal's murderer to justice. The film is fantastic and gives so much insight and imagery of the beautiful Eastern city of Diyarbakır.
The Zeybek is an ancient warrior's dance from Western Turkey and may have some Hellenic [Greek] links. The dance is named after the Zeybeks, the Greeks have developled Zeibebekiko Dance from the Turkish Zeybek.
The RHYTHMIC PATTERN [number of pulses and patterns made across this] is characteristic set of slow 9/2 beats counted either: 2+2+2+3 or 3+2+2+2. There are some variations in different regions of the speed and some musical details.
MELODIES [tunes] then played on top can either be slow or fast.
The performers, often men, represent the movements of Hawks with their arms outstretched to represent the noble and courageous aspects of the Turkish character. The performers, either one after another, or two together walk around freely, indendently, and slowly as the rhythm begins and then begin to gain momentum and movements into the dance. The bravery of the Turk is shown even in the single performer of the Zeybek. There are some complex movements moving down to the ground, kneeling and posing with a return to the hawk pose which is performed with bold grace. The standing pose with the arms outstretched like the wings of the hawk is the dancer acting out heroism.
ORCHESTRATION
The ENSEMBLE [group of instruments/vocalists] is purely MONODIC [melody and drums with no bass or harmony]. The PERCUSSION [intruments you hit] are traditional large drums worn on a shoulder harness and struck with a stick. The TIMBRE [musical colour that identifies a particular instrument] is quite sharp and DOUBLED [the same thing played by several instruments] with a higher REGISTER [high, medium or low pitch] set of OVERTONES [high frequency noises that can sometimes be felt rather than heard]. The melody is provided by traditional reed WOODWIND [instruments you blow into, over or with a reed], the sound is very piercing and reedy which cuts through the outdoor scene and wedding guests chatter. The WOODWIND all play in UNISION [all playing the same tune] which thickens the melody. The melody is very simple with a narrow RANGE [span of notes] as the traditional instruments have few notes available to play. There is some addition of various folk vocal chants later during the dancing. The arranger has done this purely to add variety and a little 'atmosphere' into the end of the piece.
The music was recorded multi-track, played through a PA system on the set, then re-recorded onto the edited film.
VIDEO
'Deli Yürek' is part of the new 'Euro-Images' style of Turkish Cinema. Not the old Republican Matenee films with one camera and a lot of melodrama that were loved up to the 80s. This production has a lot of equipment, storyboard planning, booms, lighting plans, etc. Yet, it still retains a very 'Turkish' feel. The use of traditional wedding garb is quite rare in modern Turkey. This gave a lot of lovely shots of Zara and promoted lovely Turkish culture.
Kenan İmirzalıoğlu is perfect. His height, his looks, his profile all love the camera. He is dramatic and theatrical and makes the audience 'googly-eyed' for his performance. He was aware of the kind of proud, controlled, yet delicate projection of the Zeybek he was to create and he does it magically and creates a Zeybek that is pure magic! Teşekkürler!

NEW YORK is ALIVE with A MULTI-CULTURAL TROUPE of American Asian, African and East European INDIAN CLASSICAL DANCE: BHARATA NATYAM or 'DANCE OF INDIA'. It is the OLDEST KNOWN DANCE FORM in the WORLD. The BHARATA NATYAM is a HINDU RELIGIOUS DANCE that TOLD STORIES of the GODS through STYLISED STATUE POSES to AUDIENCES that COULD NOT READ the HOLY UPANISHADS. BHARATA NATYAM is an ATHLETIC DANCE that takes a minimum of 8 YEARS to TRAIN. 'NRITTA' refers to NON-STORYTELLING SETS of MOVEMENT to SHOW TECHNIQUE and PROFICIENCY.

See more at JIVA PERFORMING ARTS on YOUTUBE:
https://www.youtube.com/channel/UCs4vucGaxRfhlgTRiju-M7g

USA JIVA PERFORMING ARTS made this STUNNING DANCE FILM "Turning classical dance into something modern like a pop video"

Jiva Dance's first short film, Urban Nritta (pronounced: nrit-thah), presents classical Bharatanatyam dance against the backdrop of New York City. Nritta is the expression of rhythm through the body in dance, and in this setting we express the rhythms of Indian classical dance and music as well as the beat of the city where we live and create.

The piece we perform is “Into the Battlefield,” excerpted from our original work “Mayura: Blue Peacock.” This scene depicts the dance of the mighty peacock, the vehicle of the Lord Murugan, as it prepares to go into battle.
Jiva Dance produces living, breathing classical art for our time and place, in harmony with the rhythms of New York City.

Concept and Choreography: Sonali Skandan
Director/Cinematographer/Editor: Jesse Newman
Production Design: Kaela Hill
Dancers: Kumari Mayshark Patel, Maya Kappil, Njideka Emenogu, Poulomi Das, Sonali Skandan
Music Composition: Rajkumar Bharathi
Sound Design/Music Recording: Sai Shravanam, Resound India
Rhythm and Music Direction Input: Bala Skandan
Makeup: Kennisha Clayton
Produced by: Jiva Performing Arts, Athena and Giri Devulapally, Ramya and Nandu Narayanan, Arpana Gollapalli and Hans Deyssenroth

Thank you to all or Wonderful Film Patrons who helped us create our first Film!
© Jiva Performing Arts 2016 All rights reserved
[FAIR USE - For educational purposes and for promoting Jiya Arts]

KHAARTOUM_LETS_TALK - Politics and SIlliness
https://www.bitchute.com/channel/EYb0GTLqGBqH/

KHAARTOUM_SINGS - Covers and Composition by K the 'Maestro'
https://www.bitchute.com/channel/khaartoum_sings/

KHAARTOUM_EAST - Ethnomusicological channel of Eastern Commercial Musics
https://www.bitchute.com/channel/khaartoum_east/

'AHMED AND MONA AND END OF THE FILM' song stars EGYPT'S 'LAST BELLY DANCER': DINA [red dress] appears with SHA'ABI SINGER: SA'AD SUGHAER [yellow shirt] and his brother: MOHAMMED ATAYA [blonded hair] from the 2009 Egyptian Musical SHA'ABI Film: 'ALA AL TARAB BI THALATHA' ['I SWEAR I WILL SING']. The song is actually a PARODY of a song from a classic black and white Arabic movie called, 'AGLA MIN AL HAYAT' ['MORE VALUABLE THAN LIFE'] where actor SALAH ZULFAKA and heroine SHAADIA shout, "Ahmed...Mona" over a mountain top to each other to sing a love song. This SHA'ABI pop belly dance song of that old song is a kitsch, colourful and bit of fun of that old melodramatic song.

SHA'ABI MUSIC
The music style here is SHA'ABI, 'sha'abi' meaning people, so the music form means a kind of URBAN FOLK MUSIC. SHA'ABI MUSIC may have originated with singers like AHMED ADEWEYAH in the 1970s during the waning years of the serious lyric oriental CONCERT STYLE Egyptian music like OUM KHILTHOUM, WARDA, NAGAT, etc. ADEWEYAH brought a more FOLKY style, initially with DRUMS and STRINGS but with more rhythmic and silly words. Over time and decline of sales of Egyptian Music the SHA'ABI MUSIC has become just KEYBOARD and maybe traditional drums. The SINGING style is RAW RURAL and words are nonesense or like RAP, obscene or impolite. SHA'ABI MUSIC is 'the music of the people' and Post Revolution Egypt's streets are filled with the sound of SHA'ABI MUSIC, even though the music is not permitted to be sold in shops by law due to its UNDERGROUND LYRICS and STATUS.

SHA'ABI CINEMA
SHA'ABI FILMS are Egyptian Cinema mimicking the 'sha'ab' in grotesque SATIRES of low class behaviour and middle class polite society corruption. On the surface SHA'ABI CINEMA entertains 'the masses' with Cairo slum dwellers and rural mad cap antics in Upper Egypt. A deeper analysis can maybe reveal an intentional or unintentional FARCE of serious corruption and entrenched problems and bad behaviour in Egyptian Society all pointed at indirectly through hilarious merciless comedies of the everyday behaviour seen of people in Egypt.

BI'A...'LOW ENVIRONMENT' SHA'ABI
"Bi'a" is the word that many will attack SHA'ABI with, meaning 'low culture' for 'low class people'. SHA'ABI MUSIC and CINEMA are generally loathed by the aspiring middle class due to the harsh countryside voices, simplistic lyrics, simple and 'belly dance' nature of the media plus the comedy made of the Middle Class, Religious Groups and Government direct and implied.

MUSICAL ANALYSIS of 'AHMED & MONA & INAHAYA' SONG
The song is based upon Western pop song FORM [sections over time]
INTRO [names unaccompanied + names & accompaniment]
CHORUS [names in MALE & FEMALE CHOIRS]
VERSE A [MOHAMMED ATAYA solo - electronic effect on voice for: style? poor voice?]
VERSE B [MALE & FEMALE CHOIRS together with SOLOIST join at times for variety]
CHORUS
BRIDGE 01 [DRUM MACHINE, SIMPLE BASS NOTES, ACCORDIAN, PERCUSSION]
VERSE A
VERSE B
BRIDGE 02 [TRADITIONAL DANCE PERCUSSION relief from ELECTRONIC SOUNDS]
VERSE A
VERSE B
CHORUS
CODA [mix of BRIDGES, ELECTRONIC & ACCOUSTIC DRUMS & ACCORDIAN SOLO]

The ENSEMBLE [group of vocalists and instruments] is not that large or greatly skilled. The song is sequenced on computer and recorded cheaply track by track on MULTI-TRACK RECORDER with electronic drums and BASS NOTES to 'warm' but this is NOT HARMONY, it is LAYERING effect to thicken the MONODY [single melody and drums] to make it more powerful for the CINEMA MEDIA.

ACCOUSTIC [live] instruments like TRADITIONAL PERCUSSION [instruments you hit] and the CHOIRS and soloists are all DOUBLE-TRACKED [they record their parts more than once then play it back to make five performers sound like fifteen to save money and add TONE MASS [thickness of tone].

MOHAMMED ATAYA'S voice has been heavily FLANGED and EFFECTED [USA Cher used this technique in the 1990s on her songs for a while]. This makes the voice more 'striking' and 'thicker' but also maybe sounds 'cheap' or 'artificial'. But it fits with the song, the comedy and gives TONE MASS POWER to the song to blast it through cinema speakers.

The ACCORDIAN player is talented and plays some instinctive fills, licks, small tunes and harsh CADENCES [musical full stops] at the ends of phrases and sections. The ACCORDIAN is a European squeeze-box organ with Western EQUAL TEMPERAMENT [a mathematical unnatural tuning system developed in the West dividing the scale into 12 equal half notes]. The ACCORDIAN has a distinctive sound and plays in DETUNED OCTAVES.
KHAARTOUM_LETS_TALK - Politics and SIlliness
https://www.bitchute.com/channel/EYb0GTLqGBqH/

KHAARTOUM_SINGS - Covers and Composition by K the 'Maestro'
https://www.bitchute.com/channel/khaartoum_sings/

KHAARTOUM_EAST - Ethnomusicological channel of Eastern Commercial Musics
https://www.bitchute.com/channel/khaartoum_east/

MUTLU YILLAR! HAPPY NEW YEAR from ISTANBUL and TURKISH TELEVISION with TURKEY'S GREAT BELLY DANCER: Asena! Inspiration for the New Year!
KHAARTOUM_LETS_TALK
https://www.bitchute.com/channel/khaartoum_lets_talk/
KHAARTOUM_SINGS
https://www.bitchute.com/channel/khaartoum_sings/

I've English subtitled the wonderful romantic Pakistani classic ghazal song of playback singer: AKHLAQ AHMED called 'SONA NA CHANDI', or 'I HAVEN'T GOLD OR SILVER TO GIVE YOU, ONLY MY LOVE'. The song is a evergreen classic composed by the Late Bengali film composer ROBIN GHOSH from the 1980 Pakistani Urdu language film 'BANDISH' or 'RESTRICTION'. The song is picturised on Pakistan's mantinee idol cinema pairing, actor NADEEM, and Bengali actress SHABNAM. The 'BANDISH' film is shot in Pakistan and Indonesia about a pilot [Nadeem] who crashes in the sea and spends time on an Indonesian island waiting to be rescued. Local girl played by DIANA CHRISTINA falls in love, NADEEM plays along, then gets rescued and goes back to his wife and air hostess SHABNAM in Pakistan. When the pair return to the island to meet the kind girl and her father, they find DIANA CHRISTINA has taken her life...'BANDISH' is probably the most beautiful family film that Pakistan ever made. Here is the link for 'BANDISH' FULL FILM on YOUTUBE [No English Subtitles...Sorry!]: https://www.youtube.com/watch?v=KNaIPNhKZbE

Indian Cinema once produced songs that were so magical and fantastical that they left an indelible mark on the audience for the rest of their lives. The sheer beauty and intense talent of the songs could never be forgotten or erased from memory...This is such a song...'My Love For You Is Like That Of...' - 'Hum Tumhain Chahate Hain...'

Actor VINOD KHANNA and actress ZEENAT AMAN mime the song in a silhouette against the sea that transcends language or nationality but is just the feeling of falling in love.

The singer Manhar Udhas with Music Directors Kalyanji-Anandji make a 'Modernised' GHAZAL [rhyming couplets and refrain expressing the pain of love or seperation] that is so moving and beautiful that it transcends language. The listener from any country can hear this song and understand its message...But here are lyrics in English and Hindi for detail...

LYRICS
Naseeb insaan ka, naseeb insaan ka. Naseeb insaan ka chaahat se hi sanwarta hai
[The fate of a human being is adorned by love]
Kya bura is mein kisi par jo koi marta hai?
[So what's wrong if someone gives his life for it?]

Hum tumhe chaahte hain aise (x 2)
[My love for you is like that of...]
Marne waala koi. Marne waala koi zindagi chaahta ho jaise.
[A dying man desperate for life]
Hum tumhe chaahte hain aise...
[My love for you is like that of...]

Rooth jaao agar tum to kya ho(x 2)
[If you turn away from me in anger]
Pal mein aise lage. Pal mein aise lage, jism se jaan jaise judaa ho.
[I feel like my life is draining out of my body]
Hum tumhe chaahte hain aise
[My love for you is like that of...]
Marne waala koi. Marne waala koi zindagi chaahta ho jaise
[A dying man desperate for life]
Hum tumhe chaahte hain aise
[My love for you is like that of...]

Zindagi bin tumhaare adhoori (x 2)
[Life is empty without you]
Tumko paaloon agar.Tumko paaloon agar, har kami meri ho jaaye poori.
[If I get you, every wish of mine will be fulfilled (there'll be nothing lacking in my life)]
Zindagi bin tumhaare adhoori
[Life is empty without you]

Le chalenge tumhe hum vahan par (x 2)
[I'll take you to a place]
Tanhaai sanam. Tanhaai sanam shehnaai ban jaaye jahan par.
[Where silence will become the notes of the shehnai* (*a musical instrument played at weddings)]

Hum tumhe chaahte hain aise (x2)
[My love for you is like that of...]
Marne waala koi. Marne waala koi zindagi chaahta ho jaise
[A dying man desperate for life]
Hum tumhe chaahte hain aise
[My love for you is like that of...]

ORCHESTRATION
The film 'Qurbani' ['Sacrifice'] is quite a Muslim themed film headed by actor, producer and director Feroz Khan. The majority of the actors are Muslim, as are the music artists. This maybe the reason for a more Middle Eastern music score.

The GHAZAL-like classic style of the lyric FORM [sections over time] and the rich velvet texture of the singer is much more common in Pakistani Film Songs of Mehdi Hassan and Ghulam Abbas that are more based upon Classical and Folk Music of The Subcontinent. It is difficult to think of another song quite like 'Hum Tumhain Chahate Hain' in cinema from India.

The film version of the song has been edited from the original studio recordings. The section of Asha Bhonsle's singing has been cut. This decision was possibly made to cut the SEVEN MINUTE length of the song, plus to retain the 'mysterious' quality of the Zeenat Aman actress' character. The male-only singing gives the effect of placing the loved female on a romantic pedestal.

The song FORM is odd. It is like two songs put together. The opening section is sung in with longer decorated notes in a different rhythm. It is like an ALAAP [opening to an Indian song] but also like a VARIATION of the main song as a sort of 'preview' of melodic material in a slightly different form.

The opening has a sort of Middle-Eastern 'lilt' with FINGER CYMBALS from BELLY DANCE on the first beat with ELECTRONIC KEYBOARD playing upward SCALES from note one [I TONIC] to note five [V DOMINANT]. The PERCUSSION [instruments you hit] are TABLA [Indian floor hand drums tuned to I & V].

After some bridging figures on the KEYBOARD, a new INDIAN RHYTHM is established in the 'song proper'. The drumming is provided by a number of TABLA players in unision offering TONE MASS [thick sound]. The PERCUSSION pattern is so regular and close-mic that is sounds like a drum machine! The drumming is unobtrusive to allow the glorious vocal and deeply moving words to work their magic and overwhelm the listener.

The 15+ WESTERN VIOLINS provide some LAYERING [playing at the same time behind repeated vocals for variety but there is no HARMONY]. The studio mix of the STRINGS is really subtle for Indian Cinema, a romantique whisper...

"Who's Coming!?"..."ASENA!"...This was the catch-phrase entrance of ASENA, Turkey's most well known and MODERNISING BELLY DANCER from singer host İBRAHİM TATLISES on his variety program 'The İbo Show'...

Like TURKISH FOLK star, SABAHAT AKKIRAZ, and Egypt's BELLY DANCER, DINA, ASENA lived ABROAD a lot as a child. Both SABAHAT and ASENA were Turks who lived in Germany and brought their own FOREIGN ideas, education and romantic 'oriental art' ideals to Turkey, unlike Turkey-born stars who wished to 'Americanise' everything.

Egypt's Dancer DINA lived extensively in Italy as a child and also brought a similar ideal to Egyptian BELLY DANCE, unlike the 'conservative' women of 1980s Egypt who would not consider Dance as a career or Cultural area for MODERNISATION.

BELLY DANCE is a somewhat difficult topic in The Turkish Republic. The political reforms of The Republic from 1923 were in place to make Turkey: "Turn to the West" in terms of Culture and Politics.

A serious argument in both Turkey and Egypt, particularly in these times of Piousness and Religious Fundamentalism: "Is Belly Dance Egyptian or Turkish?" This is the big question as neither country in the Pious Times seems to want 'responsibility' for the dance.

Turks will often say: "Belly Dance never existed in Turkey until The Ottomans colonised Egypt and it came from there".

Egyptians will often say: "Belly Dance is an 'oriental' style brought from India by The Ottomans and never existed in Egypt before The Ottoman Empire".

There is evidence that BELLY was originally ceremoniously done in all-female gatherings in Egypt during child-birth to distract the mother from the pain and anxiety in Egypt. There is some evidence that BELLY DANCE may have been performed in Turkish Palaces. There is also some speculation that this 'Women's Dance' was made into a dance for men by liberalisation under The British Empire.

One thing is clear, BELLY DANCE in Turkey and Egypt are in different styles with Turkish performers being more athletic with larger whole body moves. However, in Egypt, the dance is more static and un-athletic with more focus on hip shaking and certain stylistic movements that are not seen in Turkish artists.

MIDDLE EASTERN DANCE and MUSIC are something that that Modern Turkey had no real place for and for decades until the time of Cinema. Turkish Films tended to copy Egypt's Films with BELLY DANCERS that were imported from Cairo for a time then stopped as Arabic was a language that was 'forbidden' in The Turkish Republic. Turk Cinema employed BELLY DANCE numbers that were out of context with contemporary Turkish Culture but blindly followed Egypt as other film industries were not so similar in culture to Turkey.

BELLY DANCE became re-established in Turkey through Cinema but with an image of larger heavier ladies imitating Egyptian Cinema. BELLY DANCE became mainly a Tourist Culture done in night clubs or theatres. By the 1980s the interest in MIDDLE EASTERN ENTERTAINMENT had waned.

The rise of ARABESK CULTURE [Turkish Popular Music in the style of Arabic Music with a complex role challenging Turkish Republic Reforms] in the late 1980s brought a rise of mass cult rural Eastern Turkish singers like İBRAHİM TATLISES. These stars held and still hold unbelievable power over Turkish audiences.

TATLISES is a phenomenon, a Kurdish builder with an incredible singing voice who became ‘King of Turkey’. His whole style of rural moustachioed uneducated rags-to-riches went against the Army's Westernised Turkish Republic.

İBO and other ARABESK stars began an EASTERNISING CULTURE WAR against The Turkish Republic that used Art and Music as their mode of attack. ASENA, then only 18 was his BELLY DANCER.

ASENA, whose real name is Onur Çakmak, lived both in Turkey and Germany as a child. Virtually abandoned by her parents, she was brought up by her grandmother, but is not estranged from her parents. She studied at a Turkish university while getting a degree at the LCC Modelling and Entertainment College. She became a model and then an untrained nightclub BELLY DANCER.

ASENA refused the ‘fat-lumpy-middle-aged-woman-in-gaudy-nylon-net-costumes’ image of BELLY DANCE. ASENA changed: Body shape to slim; Costume to evening dress; Moves to elegance and athletic modernity; Hair to long straightened modern; Age to youth = NEW BELLY DANCE.

ASENA and İBO continued this professional arrangement for several years. ASENA was often involved in scandals of love affairs. Her relationship with TATLISES appeared to break down in 2001 and she was replaced on his shows with a newer, younger dancer. ASENA was SHOT shortly after the parting, gossip flew...

'Live By The Sword - Die By The Sword' İBRAHİM TATLISES was then critically shot in the head outside a TV studio in Istanbul in 2011. He was left partially paralysed and will never sing again. Strange how things happen.