Anatomy of an Egyptian 3/4 Shimmy
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If Turkish dancers are known for their finger cymbal mastery and the Lebanese for their drum solos, the Egyptian dancers are the undisputed queens of shimmies – shimmies of all kinds.
This article focuses on a very typical Egyptian shimmy, which I will describe as a ¾ shimmy with an accented hip drop on the first 2 counts, is designed for traveling and gives you the maximum movement for the least amount of effort. It has its’ root in the Hagallah from the Northern part of Egypt near the Libyan border. As it became incorporated into the popular Egyptian Baladi and later into the more refined Raks Sharki, it developed many variations but, essentially, the movement is as follows:
On the first count, the right hip is pulled down as the right foot lands on the floor and is held there for another count, then shifts out to the side as the weight is moved onto the foot on the third count and finally the left hip is lifted up with the foot on the forth count before it is pulled down again with the foot, to begin the movement over again. We will look at each of the above components from the perspective of the related muscle function in order to better understand and thus perfect the movement.
We have already looked at this first downward movement in my previous article “anatomy of a hip drop”. In order to create a clean, precise and controlled downward hip movement, we should contract the large and powerful Adductor muscle group (Figure 1) on the inside of the thighs. These large muscles run from the front of the pubic bone under the ridge of pelvic bone, all the way to the sit bones and then down the inner thigh to the knee just above the joint. As these muscles on one side of the pelvis concentrically contract (shorten), the hip on the opposite side is pulled down toward the knee, via the pelvic bones. The foot simply follows the hip and leg as it moves downward until foot makes contact with the floor.
The next movement is a pendulum type swing of the hip from one side to the other, as the weight shifts from the original foot to the one which has just contacted the floor with the hip drop. Once again we will contract the adductor group, but this time we use the adductors on the same side as the foot which is now taking the weight to “push” the hip out toward the side as the weigh is shifted. As these muscles contract, the pelvic bones on the same side are shifted toward the inner thigh, knee and foot, causing the hip to move outward.
Now with both the weight and hip shifted to the side, the opposite hip is ready to be lifted upward. In order to do this the large bone of the upper hip, called the ilium, must be pulled up by contracting the muscles on the front called the Internal and External Obliques (Figure 2), as well as those on the back, called the Lumbar Erector Spinae (Figure 3) and a small, deeper muscle of the lower back called the Quadratus Lumborum (Figure 4).
All of these muscles attach to the upper edge of the ilium (upper hip bone) and as they shorten, will lift it up toward its other attachments on the lower rib cage or spinal vertebrae.
Variations:
In the original Hagallah version, the dancer basically relied on the weight of her heavy desert boots to pull the hip downward. Then she would let on the sheer momentum of the weight of her buttocks and the spring of her knees create the outward shift as well as the rebound upwards springing movement of the opposite hip. The movements were very large and unrefined. The hips also twist side to side and the dancer traveled mainly in a forward direction.
However, the Sharki versions require great skill and control by engaging the adductors to traction the hip downward and then outward. Finally, instead of relying on a springing rebound, the hip lift is a very small, delicate and controlled tuck upward and under the ribcage.
With this approach the dancer is free to work on flat feet or up on the ball of the foot without altering the movement. The feet are generally placed very close together with one foot stepping directly in front of the other. This will naturally create a pelvic twist during the hip lift portion of the movement which will be easier to do if the oblique muscles on the side of the lifted hip assist in rotating it forward as the opposite adductor pull in downward with the foot.
This shimmy also fits perfectly with a diagonal, laterally oriented step. As such, the back foot pushes off the floor as the lead foot steps forward. It is easier to contract the adductors if heel remains lifted on the back foot and if we land on a flat foot. On the 3rd count, the weight shifts onto this foot with the outward hip movement and the back hip drops while the back foot moves in toward the lead foot.
The physical benefits of Oriental dance movements, when properly executed while respecting correct body alignment are numerous and dramatic. As in all repeated side to side hip movements, we receive a gentle massage of the lower back through the alternating shortening and lengthening of the muscles, thus relieving chronic back tension. Because chronic tension and immobility of these lower back muscles will cause locking of the spinal facet joints, these movements also keep the joints of the spine healthy and mobile through this repeated up and down action.
The swinging and shifting movements of the pelvis from side to side also help to keep the hip joints loose and lubricated, preventing tight hip capsules that could eventually result in osteoarthritis. If we use our adductor muscles to create these movements, there is also NO chance of overstretching the already overworked and sensitive Gluteus Medius and Minimus (Figure 5) abductor muscles, which are constantly contracting in order to keep the pelvis level during normal standing, through the weights shifts involved in walking and when we keep the weight of the body on one leg, while working with one hip.
It is also wonderful that we can create a consistent shimmy movement with only small contractions of the adductor muscles and a tiny upward tuck of muscles between the ribcage and the ilium. Simply stated, we benefit from a great deal of movement with only a tiny energy output, which is the real goal of oriental dance. We are also free to move from place to place while we continue the shimmy. Both of these facts, make the ¾ shimmy a great alternative to the 4/4 shimmy, which takes much more energy and does not allow for traveling.
These rhythmical oscillating movements are also excellent to maintain healthy function of the digestive and reproductive organs. However, it is very important to note that this movement is not recommended during pregnancy, especially when done quickly or with sharper accents and particularly in the first and third trimesters, which could potentially lead to miscarriage or a detached placenta, respectively.
Finally, through repeated use of our controlled “Sharki” ¾ shimmies we can also subtly and gently strengthen the abdominals muscles, which support our abdominal contents, prevent forward rotation of the pelvis and therefore help to prevent excessive tone of the lower back pain and the resulting lower back pain.
And when all else is said and done. These shimmies are Fun, not only to watch but to do!!!
So until next time and may awareness and information keep your Dancing Happy, Healthy and Beautiful for years to come.