Dancing Culture in Yemen - Essay Example

For lub, a host excludes himself from the performance area. Bara, on the contrary, is performed in public and all the guests sit together with the host or hostess to enjoy the dance.

Bara is the most important dance that is a tribal marker in Yemen. Its performance is by men only with drumming accompaniment (Adra, 1998). The performance of Bara is similar to the composition of Qabä'I poetry. There are tribal characteristics of Bara that differ in the wielding of performer’s daggers, steps and beat.

In addition, the performance of Bara takes place outdoors. Occasions like religious holidays, weddings, travelling together of tribesmen, honouring distinguished guests or weddings necessitate the performance of Bara. Bara in conjunction with zämil has important features for resolving disputes. Interestingly, republic leaders also appreciate the performance of Bara particularly in vital functions (Adra, 1998). The aforementioned features of Bara distinguish it from lub and give it the reference of a unique dance that is entrenched in the culture of native Yemenis.

In brief, lub has numerous characteristics of Iraq and remains regarded as an Iraq. For instance, the indoor genre is intimate and accompanies love songs. Lub is primarily performed by a couple of women at women's gatherings and two men where men gather (Adra, 1998). There is an expectation of a constant change of club about its tempi and new steps. Lub changes with fashion clothing. Such changes begin in Sanaa and take a while before filtering to al-Ahjur. Just like Bara, lub performance varies with village or region. Steps copied from adjacent villages influence the local dancing of the club.

Despite the Yemeni's agreement and reference to Bara as a dancing behaviour, Bara does not classify as Iraq. Rag is a term that generates from the Arabic language. The term translates to ‘’dancing’’ in English is ‘’dancing’’. Raq composes music, light-headed paly and flirtation. Interestingly, it is a contrast to the dignified presence of scholars and leaders (Adra, 1998). The performance of Bara, as aforementioned, primarily takes place on important occasions and before dignitaries.

Bara performers can perform in Iraq. However, the performance of Iraq must be in a context that is the most intimate. The delimitation of the appropriate context of Iraq’s performance differentiates it from Bara. There is censorship for performing in Iraq outside the stipulated contexts. Bara’s performance is not frivolous. The performance demonstrates valour and skill and requires legitimate performance by adults in public.