klasifikacija orijentalnih plesova

[pocetnica]

Evo,ispravljam ono sto sam napisala jer sam uvidela greske, i malo bolje se obavestila o ovoj temi. Nadam se da ce vam pomoci, i da ce vam biti zanimljivo,obzirom da sam se bas potrudila...

Za pocetak-malo geografije i objasnjenje odredjenih pojmova...
Pod terminom "ORIJENT" svrstavaju se bliski istok(negde nazvan i srednji istok) i daleki istok.Kada se termin "orijent" spomene u kontekstu sa trbusnim plesom,misli se samo na bliski istok !On obuhvata jugozapadnu Aziju o delove severne Afrike. U jugozapadnu Aziju spadaju sledece zemlje:Iran (Persija), Irak,Kuvajt,Turska,Sirija,Liban,Izrael,Jordan,Saudijska Arabija, Ujedinjeni Arapski Emirati, Bahrein,Katar,Jemen i Oman. Zemlje severne Afrike su: Egipat,Libija,Tunis,Alzir i Maroko.

Nekada je sinonim za trbusni ples bio "orijentalni ples",ali pojavom novih stilovakoji nisu nastali na tlu drzava koje pripadaju orijentu, trebali bismo uvesti nove pojmove (mozda ce biti tesko da se prihvati ovakva podela,ali moje misljenje je da je korisna kako bi se sto lakse shvatili stilovi trbusnog plesa). Trbusni ples delimo u 2 velike grupe:
1) klasican (orijentalni) trbusni ples
2)moderan trbusni ples

A sad stilovi:

U KLASICNOM (ORIJENTALNOM) TRBUSNOM PLESU:

EGIPATKI koji ima svoje podstilove:


raks baladi(beledi) -ovaj ples igraju zene u dugim haljinama sa maramom oko kukova.Haljine su isecene sa strane,od kolena pa nanize,obicno ukrasene novcicima ili resama.Ovaj ples u prevodu znaci "iz zemlje" tj "iz zavicaja".Igra se u "masmoudi" ritmu, i vise je izraz osecanja nego pokreta.Pokreti su kontinuirani i nezni,najcesce su u centralnom delu tela i abdomenu.

haggallah -ovaj ples dolazi sa gornje zapadne strane Egipta,a igraju ga zene na vencanjima i ostalim veselim prilikama.Ime -haggallah- dolazi od reci -haggall- sto znaci ime jedne vrste ptica koja zivi u okolini Sinajske pustinje,i koja na veoma neobican nacin hoda po vrelom pesku.U ovom plesu su dosta ucestali simi ramenima,i egipatski simi hod.Zene nose dugacak materijal vezan oko kukova koji se njise dok igraju.Takodje nose veo za glavu (sa svetlom trakom na celu) i teske ogrlice od novcica.Jedna od verzija haggallah plesa zove se dahiya.

raks sharki-osim u Egiptu,ovaj ples se igra i u Libanu.Izvodi se uz klasicnu arapsku muziku,a pokreti su veoma mali i precizni,pre nego veliki i skakutavi.Ples potice iz drevnog plesa podnosti,koji su igrale samo zene.Poprilicno je dramatican.U ovom stilu zenama je zabranjen ples na podu, kao i pokazivanje stomaka(zbog toga ga pokriju mrezicom ili platnom), iako Dina ponekad samo lancicem prekrije pupak.

nubijski-ovo je ples sa Egipatsko-Sudanske granice koji izvode zene u haljinama iskljucivo svetle boje.Ples potice iz Nubijske pustinje,i veseo je,skakutav.Kostim sadrzi veo za glavu,duzine do kolena,gde je jedan kraj vezan za ruku,sto plesu daje specifican vizuelni efekat.

melaya leaeff-drugi naziv za ovaj ples je "eksandrija".melaya znaci sal u koji je zena umotana.Obicno je taj sal ugasite boje sa zlatnim novcicima.U ovom plesu takodje se moze nositi i mreza za lice.

raks assaya-je ples sa stapom.Obicno se igra u 4/4 ritmu i on je tradicija gornjeg Egipta,regije Said.Potice od uticaja stocara,a postoji nekoliko varijanti plesa. tahtib -je ples muskarca ,oslikava borbu,cesto se igra i na konjima.postoji i zenska varijanta tahtiba, ali umesto prikazivanja borbe,prikazuje seljanke koje se podsmevaju muskarcima. saidi- mogu igrati i muskarci i zene.saidi se može igrati i uz arapsku pop muziku, pomešanu sa ritmom "maksum" i instrumentima kao što su; rababa, mizmar, dumba i tabla.Sve ove verzije se igraju u sličnim kostimima, muškarci nose vrećaste pantalone, košulje sa dugim rukavima, veste i turbane, a žene se posebno danas viđaju kako nose haljine u obliku slova T, obično od streč materijala, sa veoma dugim rukavima.

zaar-je vrsta Egipatskog trans plesa, sličan afričkim plesovima, u kojima se igra satima, radi isterivanja demona. Ovaj ples se smatra lekovitim jer izbacuje negativnu energiju. Igra se u kućama sa živom muzikom, a posetioci plaćaju ulaz. Ovaj dugi ponavljajući ples uključuje dosta igranja glavom i kosom, tresenja, izbacivanja i grčenja karlice i abdomena. Žene ga igraju satima dok ne padnu od premora.

zeffa(raks shemadan)-igra se na vencanjima gde je nevesta, plesačica. Smatra se srećom ako se kandelabra nosi tokom tog dana. Kandelabra je veliki svećnjak, sa velikim brojem sveća. Nosi se na glavi, sa specijalnim postoljem za nju. Prilično je težak, i zahteva od plesača da klizi preko poda, da se ne bi prosuo vosak ili da se ne ugase sveće. Ovaj ples se ne viđa često danas, iako je veoma tražen zbog veće zabave ili sujevernih ubeđenja.



TURSKI ples zahteva dosta težine na donjem delu leđa, jer stražnjica nije uvučena, kao u egipatskom plesu. Ima dosta skokova i šimija, plesa na podu, sa više slobode pokreta nego u egipatskom plesu. Umesto oud instrumenta, turska muzika vise koristi buzuki i duvačke instrumente, uključujuci klarinet. Kostimi su kabaretskog stila, sa izrezima, gde su plesacice razgolićenije.

Turski ples je veoma sličan egipatskom ali Ghwazee plesu . Postoje brojni stilovi turskog plesa, ukljucujuci:
halay u značenju "mnogo ljudi". To je ples u kom muškarci i žene igraju zajedno u liniji ili polukrugu, držeci se za ruke, ramena ili prste. Slično kolu.
cepikli je svadbeni ples kojim se proslavlja taj dan. Takođe igraju muškarci i žene zajedno.
zeybek znači "brat" ili "prijatelj". Ovo je uglavnom muški ples - retko se viđaju žene, o snazi, ponosu i herojstvu. Veoma spor sa zategnutim pokretima
siksara - ovaj ples izvode muškarci glumeći scene iz ribolova
karsilama - igra se u 9/8 ritmu, sa dosta šimija kukovima i ramenima. Ovaj ples predstavlja tursku zenu u svakodnevnom zivotu.


PERSIJSKI(Iranski) podstilovi su:



nastavicu drugi put,odoh da spavam...

[Seadeta]

Pokušavam zamisliti Havaje, Tahite i Brazil na Orijentu, ali mi ta slika nikako ne odgovara.

[pocetnica]

moja greska!
htela sam napisati "trbusni ples"

[Blue rose]

Ples koji mene mozda najvise zanima od ovih je taj Afro Brazilski, ali tek sad sam saznala kako se to tacno zove, zato, hvala ti na ovoj temi! Sad idem da ga trazim na youtube. Samo mislim da si zaboravila orjentalni flamenko.

[pocetnica]

Hvala Blue Rose na sugestijama, kao sto sam vec rekla-ja ne znam tacnu klasifikaciju,samo sam pokusala da je napravim. Zato-sve vase zamerke,sugestije,dopune i sl su dobrodosle!

[Aida]

Prvo afro brazilski ples ne spada u orijentalni ples a plesovi s dalekog Pacifika pogotovo ne.
Saidi, beledi, melaya laeff itd. su podstilovi egipatskog stila a romski ples se razlikuje od zemlje do zemlje u kojoj Romi žive. Tabla solo nije plesni stil nego postoji kao poseban plesni izražaj unutar svakog stila ili podstila. Može se plesati u egipatskom i u egip. podstilovima (postoji beledi drum solo, saiidi drum solo) pa čak i u romskom plesu, točnije turskom romskom plesu također imate drum solo.
Zambra je vrsta romskog plesa koja se pleše u Španjolskoj i Americi.

[Tijana]

A Professional - Style/Terminology
By Salome


"A Professional - Primer" outlines the basic traits of a professional. The series is intended to act as a reference to develop said traits. To read previous installments visit the Article Index page and look for the titles "A Professional - ...".

Understands the difference in style

Greater exposure to Oriental dance often leads to the awareness of style diversity within our genre and to folk dances of the Near and Middle East. Understandably, inconsistent labels, visual messages and conflicting information can leave a person confused. However, by representing yourself as a professional, the public will look to you as an authority. You will be called on to field style questions by your peers, audience, students, in conversation with the general public and the press.

To begin, gain familiarity with the terminology attached to dances, inspired by, and from the Near/Middle East. Links have been provided where possible for further dissection.

A Folk dance is a style of dance that originated among ordinary people and is traditional to their culture, community, or country. Examples include Raks Baladi, Raks al Assaya, Raks al Shemadan, Schikhatt, Guedra, Debke and Raks Al Nasha�ar.

Performance art is a form of theatrical art, usually on a �stage� that features the activity/works of an artist. Examples include Raks Sharki, Oryantal Tansi, Belly Dance, Fusion and American Tribal Style.

Raks or Raqs (pronounced "rocks") translates to �dance� and is used in conjunction with a dance style label, for example, Raks Baladi or Raks Sharki.

American Tribal Style (ATS) is a modern fantasy fusion dance that was incepted by Jamila Salimpour in 1968, San Francisco, CA. Present day elements include; costuming that mixes Middle Eastern, Central Asian and East Indian clothing and accessories, music that ranges from traditional and contemporary Middle Eastern to techno and club trance, dance movements that dominate are stylized arms, hip work and torso undulations. ATS is usually performed as a group dance in a highly structured improvisation.
http://www.orientaldancer.net/articles/ ... yle2.shtml

Cabaret Belly Dance - a cabaret is a late night spot, a nightclub that has a series of acts such as dancers or singers. The term �cabaret belly dance� arose in the 1960�s to label the dance style performed by American dancers in the Middle Eastern nightclubs of San Francisco, Los Angeles and New York.
http://www.orientaldancer.net/articles/ ... yle2.shtml

Debke (pronounced "DEB kee") is the national folk dance of Lebanon. The dance is executed in a semi-circle with participants holding hands. The torso is held upright and the legs/feet are active. Participants may make forward stomps, simple progressive steps, repeated knee bends, a combined leap and kick and the marking of a rhythmic pattern with one foot. Leadership of the dance goes to the most talented and experienced dancer of the group. The leader begins by getting the line of dancers moving in a simple form with the rhythm. Then he will add flourish to the simple form perhaps with leaps, and quick turns. He may disengage from the head of the line to move up and down the debke executing solo steps or to challenge individuals in a �dance off�. It is done by both genders, in women only, men only, or mixed lines, depending on local tradition.

Fantasy is attached to an artist�s presentation when he or she takes liberties with an ethnic dance form. Perhaps balletic movement and expression strongly dominate, or, a �Gypsy� dance is performed based on the artist�s imagination.

Fusion indicates when one or more dance styles have been blended. This could be Flamenco/Oriental, Latin/Oriental or African/Oriental... Unique labels often accompany fusion styles. For example, �Afro-Belly� to indicate African dance and Belly dance.

Ghawazee (pronounced "guh WAH zee") refers to the descendents of Rroma or �Gypsies� that migrated to Egypt 350 years ago. The Ghawazee are known as professional dancers, entertaining the outdoor festivities of the lower classes. Commonalities in movement are huge hip swings, hip shimmies layered over other hip movements, shoulder shimmies, spins and foot stomps to emphasize accents in the music, occasional head slides, back bends and some floor work. Ghawazee music is organic in sound, utilizing instruments like the mizmar and rebab with tabla, tar, and finger cymbals for percussion.

Guedra (pronounced "GEE druh") belongs to the Tuareg Berbers from the Sahara Desert. The guedra act is a blessing ritual done to give positive energy, peace and spiritual love to all present. The word itself has several meanings: cauldron/cooking pot, the drum on which the rhythm is played, the female performer of the ritual and the ritual itself.
http://www.orientaldancer.net/articles/guedra.shtml

Hagallah (pronounced �HA - gal - la�) refers to the music, dance and dancer. Originally from Libya, it is performed by the Bedouin of Western Egypt, often at wedding festivities. The heavily veiled dancer produces a steady shimmy while walking back and forth in front of a line of men who clap and chant in unison called �Keffafeen�. The Keffafeen do not dance except for the one man whom the Hagalla singles out. The dancer may hold a small stick or handkerchief in hand whose other end is grasped by the man she singles out while she dances around it. This might be a man who gives her a bracelet as a sort of proposal but it could just as easily be her brother. The chanting by the Kaffafeen refers to the coming-of-age of the girl doing the Hagalla.

Melaya Leff (pronounced �me LAY uh lef�) is a playful and somewhat sassy dance. There are two slightly varying versions, one from Cairo and the other from Alexandria, Egypt. A melaya is a large black woolen wrap worn by bint il-beled (daughters of the country). The melaya can be pulled tight, wrapped and unwrapped to display a female�s figure. Stage versions can be synthetic with sequins. The dancer often wears a tight, short dress and high heels. The melaya is wrapped around her body and she makes a great show of wrapping and unwrapping the melaya, while chewing and popping bubble gum.

Raks al Assaya (pronounced "rocks all uh SI yuh") is the term for the female cane dance done in a charming and playful imitation of the male dance Tahtiyb (pronounced "tah TEEB"). Tahtiyb is a martial arts dance in which men enact fighting with long sticks. Both dances originated from the southern region of Egypt also known as Upper Egypt or the Said.

Raks Baladi, Beledi, Beledy or Balady (pronounced "rocks BELL uh dee") is the solo dance of Egyptian women. Variants of which are indigenous to parts of North Africa and the Middle East. Raks baladi is not seen as performance but as a social/celebratory activity that women enjoy in the home and at celebrations, weddings in particular. It is done with abandon in women only settings and, depending on the party goers, in mixed gender celebrations as well. The dance is a more basic form of Egyptian raks sharki, more stationary, with hip movements being predominate. As an aside, the word baladi translates to �country�, as in �my country� or �my hometown�. In the U.S. baladi is commonly used to label a rhythm whose Egyptian name is maqsoum. In Egypt a �sophisticated� city dweller may derogatorily call someone (or something) baladi, as in redneck or hick.

Raks Al Nasha'ar (pronounced "rocks all nuh SHAH ar") is a social dance, done strictly by and for women, in the Persian Gulf. Sometimes referred to as Khaleegy, Khaleeji or Khaliji (pronounced "kuh LEE jee".) Khaleegy means Gulf in Arabic and refers to the countries of the Persian Gulf region. The trademarks of this dance are gliding steps, lovely hair tossing, and hand movements that utilize the dress worn for this dance called thobe nasha�ar.

Raks Sharki or Raqs Sharqi (pronounced "rocks SHARK-ee") translates to �dance of the orient� or �oriental dance�. It refers to the performance art version of raks baladi and its variants, what the West often associates as Belly dance. Raks sharki developed primarily in Egypt but also in Lebanon and Turkey. Other labels for Raks Sharki include Oryantal tansi (the Turkish label), Middle Eastern, Mid Eastern, Mid Eastern Oriental, Near East, Oriental and Belly dance.
http://www.orientaldancer.net/articles/ ... tion.shtml

Schikhatt, Shikhatt, Shakhatt or Chikhat (pronounced "SHE kaht") is from Morocco. It is an erotic dance done for a bride in her *** segregated pre-wedding festivities. It is acted out by a sheikha (meaning one with carnal knowledge extensive enough to teach others) and her all female group of schikhatt musicians and dancers. The sheikha�s purpose is to educate the bride on how she will be expected to move in the marriage bed. Moroccan city women have more recently used schikhatt as a diversion by and for each other.
http://www.orientaldancer.net/articles/schikhatt.shtml

Shemadan or Shamadan (pronounced "SHAH muh dahn") translates to �candelabrum� in Arabic. Raks al Shemadan refers to the Egyptian dance traditionally performed during the wedding procession and reception called a Zeffa.
http://www.orientaldancer.net/articles/shemadan.shtml

Whirling Dervish - the mystical poet Mevlana Jalal-al-Din Rumi, commonly known as Rumi, founded the Order of the Whirling Dervishes in the 13th century Ottoman Empire. The order is a branch of the Sufi tradition of Islam. The ritual whirling is done to empty the dervish dancer of his conscious mind, and place him in a trance wherein the dervish recognizes his relationship to God and the universe.

References

Morocco and the Casbah dance company repertoire
Hagallah FAQ authored by Morocco
Naiilah Glossary
Shira Glossary
Jalilah Raks Sharki website
"Lebanon Land of the Cedars" by Marie Karam Khayat and Margaret Clark Keatinge
Encarta Encylapedia - Whirling Dervish

http://www.orientaldancer.net

[Tijana]

Belly dance movements are common to many folk dance styles of the Middle East

Karsilama - Turkish
This is a line dance to an interesting 9/8 rhythm that can be counted 1 2 3, 123 (three slow, three fast movements). To hip and shoulder shimmies are added hops, dips, and jumps for lively change from the usual sultry bellydance.

Dahiya Egyptian Scarf Dance
Dahiya is a version of the haggallah dance of Mersa Metruth,Egypt borders with Libya to the West. This dance was introduced to Vancouver in the late 70s by Denise Enan. The dance features lots of hip and shoulder shimmies as the dancers wave colourful hankies to accent flirtatious and saucy moves.

Ghawazee - Egyptian Gypsy Dance
The Ghawazee are a family of dancers with their own distinct style of dancing passed on from mother to daughter. It is believed they were originally a tribe called the Nawara that came to Egypt possibly from Persia.
The men of the family play music and the women’s performances at festivals, weddings and private parties support the family. The movement vocabulary is more limited and repetitive than a raks sharqi routine but the dancers are able to continue their mesmerizing shimmies and zill playing for hours.

Zar Egyptian Trance Dance
Trance dancing is a healing tradition found in many areas of the Middle East. The zar is usually held at a private home, muscians are hired and an entrance fee is charged.
The mostly female participants will partake by clapping and zaghareeting until they hear a particular rhythm that calls them and then dance in repetitive movements such as head tossing to induce trance and thus dispel unharmonius energies.
The workshop will cover traditional zar movements as well as a choreography stylized for performance.

Tunisian
This is a very vigorous dance done almost entirely on demi pointe and using horizontal hip twists almost nonstop.
The traditional costume is descended from the Roman toga and are held together with fibulas (the original safety pin?). Experts in this style dance with a water jug balanced on their heads.

Khaleegy Saudi Arabian Gulf
This dance utilizes an oversized overdress as both costume and prop. The dress is held up in front like an apron and made to billow as the pelvis undulates gently to a R-L-R, L-R-L stepping pattern.
The dance also features lots of spins, chest drops and tossing of unbound hair from side-to-side. The huge sleeves are at times held up like a hood to frame head slides or used coquettishly like a veil.

Bandari Persian Gulf
Like the Arabian Gulf dance, Khaleegy, this dance uses the pelvis-rolling R-L-R, L-R-L stepping pattern. Persian people perform this at parties, travelling around in a circle and sometimes stepping into the centre for a solo with encouragement from their friends. The main variations are in the arm movements.

Raks Assaya - Egyptian Cane Dance
Prop dances are a fun change of pace and this one comes from Egypt’s pastoral tradition. It is also a coquettish parody of the men’s martial arts stick dance, tah’tyb.

Fusion Dance Styles
The sky's the limit with fusion dances. These usually use music with a Western Edge. Costuming should NOT be traditional or cabaret styles but could be modifications of these. For Venus' Techno dance to Turkish Techno pop music, we used a jazz pant and crop top in metallic lycra. Gauntlets, head pieces and strings of plastic beads added a bellydance flavour. The movements are bellydance based with stylized shapes and strong arms.

http://www.venusbellydance.com/

[Tijana]

Interviews from Bellydance Superstars Ansuya and Rachel Brice... Including commentary at the end by Morocco on the different styles of bellydance which include, but are not limited to, modern egyptian, cabaret, tribal, and tribal fusion. ENJOY!

http://vids.myspace.com/index.cfm?fusea ... id=1761109

[Leila]

Sta vise dodati posle ovako iscrpne Tijanine pretrage...? :-):-):-)

[pocetnica]

HVALA SVIMA , sada mi je mnogo jasnije.... kada sam pocela da se interesujem za trbusni pes,moram priznati da mi nista nije bilo jano oko stilova... citava zbrka mi se napravila u glavi

Zanima me da li se hula,tamura i afro-brazilski plesovi mogu staviti pod naziv "plesovi slicni trbusnom plesu" ili bi i to bilo pogresno!?
jer,koliko mi se cini imaju dosta slicnih pokreta sa trbusnim. ili se varam?????????????

[Aida]

Pokreti u polinezijskim plesovima su isti kao i u trbušnom, samo se plešu u drugačijem plesnom stavu pa izgledaju drugačije. Zaprepastila sam se kad sam vidjela da imaju čak i iste korake i pokrete s rukama karakteristične za egipatski stil. Jedino nema pokreta sa grudnim košem i trbuhom. Toliko ima sličnosti da sam počela razmišljati o tome da je orijentalni ples u biti stariji nego što mislimo, da je to prapovijesni ples koji je nastao prije razdvajanja kontineneta i tako se desilo da se isti ples pleše i u Africi i tisućama kilometara dalje na dalekom Pacifiku. Moju teoriju potkrepljuje i činjenica da se ples na Havajima koji se nalazi na sjeveru Pacifika ne razlikuje puno od plesa na Tahitiju ili pak Cook Island otočju i Novom Zelandu koji se nalaze na jugu i udaljeni su tisućama kilometara morskom površinom. Budući da nekad nije bilo brodova koji su mogli povezivati tako velike udaljenosti, kako to je da je ples gotovo isti, sa malim varijacijama u pokretima i ritmovima?

Nemojte se smijati mojoj teriji!

[Amy Inferno]

žao mi je što ću uletjeti na ovako staru temu, ali moram samo napomenuti kako ljudi kao vrsta nisu postojali dok je postojala Pangea (superkontinent).

a ples koji danas izgleda slično sa drugim plesovima može takav biti zbog više razloga. primjerice,

- preuzimanje kompletnih plesova i/ili plesnih pokreta od drugih zajednica (fuzija na koju se danas mnogi ljute, a oblikovala je plesove koje danas plešemo, često bez brige o "autentičnosti" jer je jedino bilo važno u plesu sudjelovati i ples promatrati)
- eksperimentiranje s ljudskim tijelom koje je motorički ograničeno te postoje određeni pokreti koji jednostavno "sjedaju" i tako ulaze u ples


znači, polinezijski ples može biti sličan nekom drugom plesu sa drugog kraja planete čak i ako nije bilo nikakvih dodirnih točaka, to šot ga danas nalazimo u stanju u kakvom je ne znači da je do toga došlo istim fazama i razvojnim putem kojim su do toga blisko istočni plesovi došli.

(inače, ista stvar je sa narodnim predajama, mitologijama i sličnim, po cijelom svijetu se znaju naći slični ili potpuno isti motivi, priče, itd... ali to nije dovoljno jak argument - previše puta u povijesti se znanstveno gledano takvim razmišljanjem dolazilo do groznih pogrešaka)

[Tami]

Definitivno postoje paralele sirom civilizacije u mnogim aspektima.
Te paralele poticu od povezanosti coveka sa prirodom i ogranicenoscu coveka prirodom, kao sto je i Amy napomenula, vezano za fizicke sposobnosti tela.
Priroda je ipak starija od kulture.
Ali mi svakako treba da tumacimo sve sto spada u kulturu na svoj nacin!
Jer ako samo prihvatamo zdravo za gotovo ono sto nam se od informacija servira, a sami ne istrazujemo, tesko da mozemo napredovati.

U tom smislu za mene je orijentalni ples skup stilova koji imaju direktne veze sa folklornim stilovima Bliskog i Srednjeg Istoka, i javljaju se u modernom i klasicnom vidu, dok mi je trbusni ples svaki ples koji koristi pokrete karlicom, stomakom, grudima.. Tu mi spadaju i fusion i razni polinezijski plesovi koje pominje Aida.
Znaci, po mom tumacenju trbusni ples je siri pojam od pojma orijentalni ples i nema prostornih odrednica.
Ako kazemo orijentalni ples, to upucuje na Orijent. Zar ne?

[Maja87]

Hm.. A kako to da neko tvrdi da ovaj pres treba nazivati orijentalnim a ne trbusnim, jer se ne plese samo trbuhom, vec su i brojni drugi elementi ukljuceni? Tako kada se kaze lici da je siri pojam "orijentalni". S druge strane, potpuno se slazem da "orijentalni" asocira na Orijent. I onda, nazvati npr. orijentalnim plesom.. mozda je cak i pogresno?