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Ooh La La (Faces song)
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"Ooh La La"
Single by Faces
from the album Ooh La La
B-side
"Borstal Boys"
Released
March 1973 (1973-03)
Format
7-inch single
Recorded
January 1973
Genre
Folk rock[1]
Length
3:35
Label
Warner Bros.
Songwriter(s)
Ronnie Lane
Ronnie Wood
Producer(s)
Glyn Johns
Faces singles chronology
"Cindy Incidentally"
(1972) "Ooh La La"
(1973) "Pool Hall Richard"
(1973)
"Cindy Incidentally"
(1972) "Ooh La La"
(1973) "Pool Hall Richard"
(1973)
Audio sample
file
help
"Ooh La La" is a 1973 song by the band Faces, written by Ronnie Lane and Ronnie Wood. It was the title song for the band's last studio album, Ooh La La.
The lead vocals were provided by Wood, a rarity in the band's catalog, as most lead vocals were by Rod Stewart or less often by Ronnie Lane. Stewart and Lane recorded lead vocals for it; however, their producer suggested Wood give it a try, and that was the version that was used for the track which appeared on the record.
Lane recorded his own version after leaving the Faces in 1973 with his new group, Slim Chance. Lane's version featuring lyrics slightly altered from those he wrote for the Faces. Although Lane's version was never released during his lifetime, it appeared as the title track of the 2014 Slim Chance compilation Ooh La La: An Island Harvest. Lane performed his version of the song right up until he retired from the music business in 1992.
Wood performed the song in his solo concerts between 1987–2012.
Contents
[hide]
1 Content
2 Personnel
3 Releases
4 Covers
5 In popular culture
6 References
7 External links
Content[edit]
The lyrics describe a dialogue between a grandfather and grandson, with the elder man warning the younger about the perils of relationships with women: "Poor old granddad, I laughed at all his words / I thought he was a bitter man; he spoke of women's ways." The chorus laments, "I wish that I knew what I know now, when I was younger."
Personnel[edit]
Ronnie Wood – vocals, acoustic lead guitar
Ronnie Lane – bass, resonator rhythm guitar, tambourine
Ian McLagan – piano, organ, Mellotron
Kenney Jones – drums, maracas
Releases[edit]
In addition to being the closing title track of the Faces' final studio album, the song also appeared as a US single in May 1973. The first compilation the song appeared on was the album Snakes and Ladders / The Best of Faces, and was one of the few songs that represented Ronnie Lane's songwriting. It appeared again on the 1999 Faces retrospective Good Boys... When They're Asleep and another time on the four-disc Five Guys Walk Into A Bar.... It even appeared on the Ronnie Wood greatest hits compilation Ronnie Wood Anthology: The Essential Crossexion, where Wood stated in the liner notes that he always thinks of Lane when he plays it.
Covers[edit]
Rod Stewart covered the song himself on his 1998 solo album When We Were the New Boys in tribute to the recently deceased Lane. It was released as the first single from the album and became a top 40 hit in the US and top 20 in the UK.
Indie rock band Silkworm covered the song for their 2000 LP Lifestyle.[2] Banjo player Danny Barnes covered the song on his 2003 release Dirt on the Angel.[3] The song was covered by Counting Crows as a B-side for their 2003 single "If I Could Give All My Love (Richard Manuel Is Dead)" and re-released on their 2012 studio-album "Underwater Sunshine". In late 2012, punk rocker Tim Armstrong, best known as frontman of Rancid, recorded a ska-flavored cover of the song under the moniker Tim Timebomb and Friends. Included in the recording, and featured in the video, were drummer Travis Barker of Blink-182, bassist J Bonner, and keyboardist Kevin Bivona of The Transplants.[4] American indie rock band Manchester Orchestra performed a version of the song in July 2013 for The A.V. Club's A.V. Undercover series.[5]
In popular culture[edit]
"Ooh La La" was featured in the 1998 film Rushmore, played over the film's final shot and closing credits. It was also included in the film's 1999 soundtrack album. It was also used as the theme song for the 2003 BBC sitcom Grass. It was also featured in the 2004 movie Without a Paddle. "Ooh La La" was performed live by Ronnie Wood at the 50th birthday celebration of the Fender Stratocaster in 2004. Episode 4 of the 2004 BBC miniseries Blackpool featured the Faces recording, accompanied on screen by the singing and dancing of the characters, as part of the story. The song is used in the HBO series Entourage in the fifth-season episode "ReDOMption". It is used in the Showtime series Californication in the third-season finale "Mia Culpa". It is the favorite song of Red Hot Chili Peppers' vocalist Anthony Kiedis.[6] It was played at the funeral of FBI Agent Elizabeth Keen, on the NBC series The Blacklist, season 3, episode 20 "The Artax Network". Used as background music during the "fish" scene of season 1 episode 20 Young Sheldon.
References[edit]
Jump up ^ Uli Twelker; Roland Schmitt (December 1, 2010). The Small Faces & Other Stories. Bobcat Books. p. 156. ISBN 978-0-85712-451-7.
Jump up ^ Kellman, Andy. Ooh La La at AllMusic. Retrieved 2011-09-21.
Jump up ^ "Dirt on the Angel". Retrieved 23 December 2014.
Jump up ^ Sterling, Scott. "Rancid's Tim Armstrong Releases New 'Tim Timebomb' Video Featuring Travis Barker". KROQ. Retrieved 17 November 2012.
Jump up ^ "Manchester Orchestra covers Faces". Retrieved 3 July 2013.
Jump up ^ MyTunes: Kiedis's Top 5 tracks, Mojo
External links[edit]
Lyrics of this song at MetroLyrics
hide
v
t
e
Faces
Kenney Jones
Ronnie Lane
Ian McLagan
Rod Stewart
Ronnie Wood
Tetsu Yamauchi
Jesse Ed Davis
Mick Hucknall
Glen Matlock
Studio albums
First Step
Long Player
A Nod Is As Good As a Wink... to a Blind Horse
Ooh La La
Live albums
Coast to Coast: Overture and Beginners
Compilations
Snakes and Ladders / The Best of Faces
Good Boys... When They're Asleep
Five Guys Walk into a Bar...
Songs
"Wicked Messenger"
"Maybe I'm Amazed"
"Stay with Me"
"Cindy Incidentally"
"Pool Hall Richard"
"Ooh La La"
"You Can Make Me Dance, Sing or Anything"
Related articles
Discography
List of songs recorded by Faces
Small Faces
hide
v
t
e
Rod Stewart singles
1970s
"It's All Over Now" (1970)
"Reason to Believe"/"Maggie May" (1971)
"Every Picture Tells a Story"/"Reason to Believe" (1971) Spain only
"(I Know) I'm Losing You"/"Mandolin Wind" (1971)
"Handbags and Gladrags" (1972)
"You Wear It Well" (1972)
"Angel" (1972)
"What's Made Milwaukee Famous (Has Made a Loser Out of Me)" (1972)
"Twistin' the Night Away" (1973, 1987)
"Oh! No Not My Baby" (1973)
"Farewell" / "You Send Me" (1973)
"Mine for Me" (1974)
"You Can Make Me Dance, Sing or Anything" (1974) Stewart/Faces
"Sailing" (1975)
"This Old Heart of Mine" (1975)
"Tonight's the Night" (1976)
"The Killing of Georgie" (1976)
"Get Back" (1976)
"The First Cut Is the Deepest" (1977)
"I Don't Want to Talk About It" (1977, 1990)
"You're in My Heart (The Final Acclaim)" (1978)
"Hot Legs" (1978)
"I Was Only Joking" (1978)
"Da Ya Think I'm Sexy?" (1978, 1997)
"Ain't Love a Bitch" (1979)
"Blondes (Have More Fun)" (1979)
1980s
"(If Loving You Is Wrong) I Don't Want to Be Right" (1980)
"Passion" (1980)
"Tonight, I'm Yours (Don't Hurt Me)" (1981)
"Young Turks" (1982)
"How Long?" (1982)
"Baby Jane" (1983)
"That's What Friends Are For" (1983)
"Infatuation" (1984)
"Some Guys Have All the Luck" (1984)
"All Right Now" (1984)
"People Get Ready" (1985, 1991, 1993) Stewart/Beck
"Love Touch" (1986)
"In My Life" (1987)
"Forever Young" (1988)
"My Heart Can't Tell You No" (1988)
"This Old Heart of Mine (Is Weak for You)" (1989)Stewart/Isley
"Downtown Train" (1989)
1990s
"It Takes Two" (1990)Stewart/Turner
"Rhythm of My Heart" (1991)
"The Motown Song" (1991)
"Your Song" (1992)
"Ruby Tuesday" (1993)
"Have I Told You Lately" (1993)
"Reason to Believe" (unplugged, 1993)
"All for Love" (1993) Stewart/Adams/Sting
"Leave Virginia Alone" (1995)
"Lady Luck" (1996)
"Ooh La La" (1998)
"Rocks" (1998)
"Cigarettes and Alcohol" (1998)
"Faith of the Heart" (1999)
2000s
"These Foolish Things" (2002)
"They Can't Take That Away from Me" (2003)
"Time After Time" (2003)
"What a Wonderful World" (2004)
"Blue Moon" (2004)
"Baby, It's Cold Outside" (2005)
"I've Got a Crush on You" (2005)
"I've Got My Love to Keep Me Warm" (2006)
"Have You Ever Seen the Rain?" (2006)
2010s
"Let It Snow! Let It Snow! Let It Snow!" (2012)
"Have Yourself a Merry Little Christmas" (2012)
"Everyday" (2015)
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Dabke
From Wikipedia, the free encyclopedia
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For the film, see Dabka (film).
Dabke
Palestinian girls dancing traditional Dabke
Medium
Circle dance and line dancing
Types
Variations
Originating culture
Arab
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v
t
e
Dabke (Arabic: دبكة also spelled Dabka, Dubki, Dabkeh, plural Dabkaat),[1] is an Arab folk dance native to the Levant.[2] Dabke combines circle dance and line dancing and is widely performed at weddings and other joyous occasions. The line forms from right to left. The leader of the dabke heads the line, alternating between facing the audience and the other dancers. In English, its name is also transliterated dabka, dabki and dabkeh.
Contents
[hide]
1 Etymology
2 History
3 Variations
4 Song genres
5 Instruments
6 Performances and competitions
7 World records
8 See also
9 Bibliography
10 References
11 External links
Etymology
The word 'Dabke' is derived from the Arabic word (Arabic: دبكة) meaning (stamping of the feet).[3][4][5][6][7]
History
Men dancing dabke, 1880
The Palestinian dabkeh jumps may or may not have origins in age-old Canaanite fertility rites which reflected the increasing growth of plants. They were used to scare away evil forces and to protect the security and growth of seedlings.[8]
According to Yazbec, the Phoenicians were the first teachers of the dance in the world, and the dabke is a representative descendant of the Phoenician dances.[9]
According to one folk tradition, the dance originated in the Levant where houses were built from stone with a roof made of wood, straw and dirt. The dirt roof had to be compacted which required stomping the dirt hard in a uniform way to compact it evenly. This event of cooperation is called ta'awon and from here comes the word awneh, meaning "help." This developed into the song Ala Dalouna (Arabic: على دلعونا), roughly translated, "Let's go and help". The dabke and the rhythmic songs go together in an attempt to keep the work fun and useful.
Variations
In Jordan there are around 19 types of The Jordanian Dabke. Habel Mwadea’ (حبل مودع) is the Jordanian dabke of any type performed by men and women jointly.[10] Jordanian dabke types include but are not limited to:[10]
Al-Karaadiyya (الكرادية) also known as Al-Taiyyara (الطيارة)
Al-Tas’awiyya (التسعاوية) also known as Al-Ma’aniyya (المعانية)
Al-Sha’rawiyya (الشعراوية)
Al-Darrazi (الدرازي)
Al-Shamaliyya (الشمالية)
Al-’Askariyya (العسكرية)
Al-Joufiyya (الجوفية)
Al-Ghawarneh (الغوارنة) also known as Deir ’Ala (دير علا)
Wahad w Nos (واحد ونص)
Abu ’Alanda (أبو علنده)
Al-Aqabawiyya (العقباوية)
Al-Ramthawiyya (الرمثاوية)
Al-Sahja (السحجة) limited to men
Al-Dahiyya (الدحية) limited to men
Al-Hashi (الحاشي) limited to women
Al-Farradiyya (الفرّادية) limited to women
Al-Jamma’iyya (الجمّاعية) also limited to women
Al-’Adiyya (العادية) also known as Al-Dalo’una (دبكة الدلعونا) which is probably the easiest and least active type of the Jordanian dabke.[10]
Amongst Palestinians, two common types of dabke are the shamaliyya and sha'rawiyya – which have six measure phrases – and the karaadiyya which has square phrases (of four or eight measures). Another type is the dabke niswaniyyah, danced specifically by women. Each type of dabke dance has its own corresponding set of songs, the theme of which is often love.[11]
Women dabke dancers
There are six main types of dabke:
Al-Shamaliyya (الشمالية): is probably the most famous type of dabke. It consists of a lawweeh (لويح) at the head of a group of men holding hands and formed in a semicircle. The lawweeh is expected to be particularly skilled in accuracy, ability to improvise, and quickness (generally light on his feet). Typically, the dabke begins with a musician playing a solo on the mijwiz or yarghoul of a Dal Ouna piece, often with two singers accompanying his music. The dancers develop a synchronized movement and step and when the singers finish their song, the lawweeh breaks from the semicircle to dance on his own. When the leader of the dabke sees that the men's steps are one, in sync, he instructs the dancers to slow down and begin a movement crossing their right foot in front of the opposite one (their left foot). The lawweeh continues to inform the dancers of their basic rhythms, and at this point other guests at the wedding or event occurring will join in the dabke line. This is the most popular and familiar form of dabke danced for happy family celebrations, such as weddings, circumcisions, the return of travelers, release of prisoners, and also for national holidays, in which dabke becomes a demonstration of national personality.[12]
Al-Sha’rawiyya (الشعراوية): is limited to men and is characterized by strong steps or stomps. The lawweeh is the most important element in this type of dabke.[12]
Al-Karaadiyya (الكرادية): is characterized by a lack of a lawweeh and slow movement with an azif (عازف) (flute player) in the center of the circle.[12]
Al-Farah (الفره): is one of the most active types of dabke and therefore requires a high degree of physical fitness.[12]
Al-Ghazal (الغزل): is characterized by three strong stomps of the right foot, and is usually tiring for those dancing.[12]
Men dancing dabke in Al-Bireh, West Bank
Play media
Lebanese women dancing dabke interior.
Al-Sahja (السحجة): is a popular Palestinian and Jordanian dance which became significantly more popular during the British Mandate for Palestine. Al-Sahja belongs mostly to northern and central Palestine, and in the south has two kinds: As-Samir (السامر) and Al-Dahiyya (الدحية). As-Samir's form involves 2 rows of men on opposite walls, competing with folk poetry, sometimes improvised and even exchanging insults, competing in cleverness of retorts. Al-Dahiyya is a Bedouin version of the same kind in which there is a professional dancer that dances between the two opposing walls of men who are competing for her attention, and at times give her money. Al-Sahja usually occurs the night before the wedding party of the groom (zafat al-'arees), with most of the men in the village participating, especially those who will be attending or are directly involved in the other wedding festivities.[12]
The Oxford International Encyclopedia of Dance also mentions these additional kinds of line dances in its entry under "Middle East":
The Murdah was originally performed by women in Arab states of the Persian Gulf while the men of the community were away on extended fishing and pearling expeditions. It involves two lines of dancers who move toward each other with small steps and then retreat while singing rhymed couplets. These couplets were largely laments for absent loved ones. Although seafaring is no longer economically important in the region, women continue to perform this dance at social gatherings.
The Ahwash (Fr., ahouache) performed by Berber tribes of the Moroccan High Atlas Mountains, includes one or several curved lines of men and one or several curved lines of women, the whole forming a circle or ellipse around male drummers (Jouad and Lortat-Jacob, 1978; Lortat-Jacob, 1980). One line recites a poem that the other line responds to with another poem; then all move to the beat of the drums. Customarily, the whole community participates. While performing, women dancers hold themselves very straight and move with staccato steps, holding onto the weaving rod of the house. Women as well as men compose the poetry that is recited. A similar dance reported for Morocco is the dukkala. In one variation a man and woman facing each other compete to see which one can dance the longest (Mercier, 1927).[13]
Song genres
There are numerous kinds of songs that are sung during and specifically for dabke, by both men and women respectively, depending on the occasion, song, and audience. Some of the most popular of these songs, such as Dal Ouna (دلعونا), Al Jafra (الجفرا), Al Dahiyya (الدحية), and Zareef il-Tool (ظريف الطول), are actually entire genres in themselves, in the sense that lyrics can vary significantly in each performance but the basic rhythm of the music is consistent and recognizable. This variation can be seen in the hundreds of lyrical variations heard and recorded of these songs which regardless of specific lyrics, are recognized by their rhythm and at times, a single phrase, as in Ala Dal Ouna, Jafra, and others. For example, even though one might have heard Ala Dal Ouna sung previously telling a different story in this famous love song, people will still call another song ascribing to the same rhythm and theme as Dal Ouna.[14]
Instruments
The Oud, from which the English word "lute" comes, is shaped like a half pear with a short non-fretted neck. It has six courses of two strings and played with a plectrum, usually a trimmed eagle’s feather. This instrument creates a deep and mellow sound.
The mijwiz (مجوز) which means “double” in Arabic is very popular in Lebanese music. It is a type of reed clarinet. It is played by breathing smoothly through a circular aperture at the end and by moving the fingers over the holes down the front of the tube in order to create the different notes. The minjjayrah is similar to the mijwiz, an open ended reed flute played in the same style..
The tablah is a small hand-drum also known as the durbakke. Most tablahs are beautifully decorated, some with wood, tile or bone inlay, etched metal, or paintings in designs typical of the Near East. One of the most commonly played of the percussion instruments; the tablah is a membranophone of goat or fish skin stretched over a vase-shaped drum with a wide neck. Usually made of earthenware or metal, it is placed either under the left arm or between the legs and struck in the middle for the strong beats and on the edge for the sharp in-between beats. Though today fishskin heads are rarely used due to the climate. When used it becomes loose, you would have to heat the head to get the correct sound back. The membrane or head of the drum is now made out of plastic. The most common head is from Alexandria, Egypt.
The daff, also known as the Riq, is similar to the tambourine. It consists of a round frame, covered on one side with goat or fish skin. Pairs of metal discs are set into the frame to produce the jingle when struck by the hand. The sounds of this percussion instrument set the rhythm of much Arab music, particularly in the performances of classical pieces.[15]
The arghul, (يرغول) also known as the yarghoul, is commonly used in solos, often accompanied by singers, that begin dabke performances. Unlike the mijwiz, it only has finger holes in one of its pipes/reeds. (see Al-Shamaliyya, under Types).
Performances and competitions
Competitions or shows may consist of different cultural dances and other dabke groups performing dabke. For example, the International Fiesta which is well known at the University at Buffalo consists of a series of clubs performing their cultural dances. This competition occurs every semester in the main stage theater of the UB Center for the Arts during the spring time, usually at the end of February or beginning of March. This allows the Organization of Arab Students to participate and show the cultural awareness of dabke. Many universities have an event called Arab Night or a similar title. When these shows occur, dabke is either performed on stage (inside or outside), in a hall on the floor, or outside on the floor.There are different steps that comprise the Debka dance: the belbel, the inzel, shemmel and taxi; a combination of each of these steps as well as the occasional jump and turn make the dance complete.[16] In America, the tradition has not been lost and is held in the same places as it would in the original homeland and the dance music is also commonly played in America at Arab-community cultural centers and conventions such as the annual convention hosted by the American Federation of Ramallah Palestine.[17]
World records
In August 2011, a group in a Lebanese village Dhour El Choueir, Lebanon set a new world record. Organized by Dhour El Choueir Summer Festival, a human chain of 5,050 was made and currently holds the world record.[18]
Dhour El Choueir event broke the record set by Tollab, Lebanese Student Federation in Montreal, with the participation of "La Troupe Folklorique Les Chevaliers du Liban" that had made a human chain of 4,475 people dancing the dabke for more than five minutes straight at Montreal's Marcelin Wilson Park.[19][20]
Tollab had itself broken a record of 2,743 set by a group of Israeli Arabs in Acre, Israel. An earlier record of 1,700 had been set in Toronto.[21]
See also
Kochari
Line dance
Khigga
Syrtos
Assyrian folk dance
Kurdish dance
Armenian dance
Turkish dance
Bibliography
Adra, Najwa. "Middle East" The International Encyclopedia of Dance. Ed. Selma Jeanne Cohen and the Dance Perspectives Foundation. Oxford University Press, 2003. Georgetown University. 3 December 2010[22]
Cohen, Dalia; Katz, Ruth (2006). Palestinian Arab music: a Maqām tradition in practice (Illustrated, annotated ed.). University of Chicago Press. ISBN 978-0-226-11299-2.
Kaschl, Elke. Dance and Authenticity in Israel and Palestine: Performing the Nation. Leiden & Boston, MA: Brill; 2003.
Ladkani, Jennifer. "Dabke Music and Dance and the Palestinian Refugee Experience: On the Outside looking in." Ph.D. dissertation, Florida State University, 2001.
McDonald, David A. "Poetics and the Performance of Violence in Israel/Palestine." Ethnomusicology. 53:1, Winter 2009.
Rowe, Nicholas. "Dance and Political Credibility: The Appropriation of Dabkeh by Zionism, Pan-Arabism, and Palestinian Nationalism." Middle East Journal, 65.3 (2011): 363–80. Summer 2011. Web. 20 Mar. 2012. Print.
Rowe, Nicholas. “Raising Dust: a Cultural History of Dance in Palestine.” Publisher London ; New York, NY : I.B. Tauris ; New York, NY : Palgrave Macmillan, 2010.
Handelsman, JoEllen. 3, Dance Styles of the Middle East. “Near and Middle Eastern Dance Workbook.” 2nd ed. Tucson: Premium Source, 2012. 7. Print.
References
Jump up ^ "Stomps . Stciks . Spins : ARAB FOLK DANCE with KARIM NAGI : Dabke . Saidi . Sufi". Karimnagi.com. Retrieved 2017-01-07.
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"The Dabke-An Arabic Folk Dance". History and Development of Dance/ Brockport. 9 May 2013.
Veal, Michael E.; Kim, E. Tammy (2016). Punk Ethnography: Artists & Scholars Listen to Sublime Frequencies. Wesleyan University Press. ISBN 9780819576545.
Kabir, Nahid (2012). Young American Muslims: Dynamics of Identity. Edinburgh University Press. ISBN 9780748669967.
"Event: Dabke Dance Workshop – Vassar BDS". vsa.vassar.edu.
York, Museum of the City of New (2002). A Community of Many Worlds: Arab Americans in New York City. Syracuse University Press. ISBN 9780815607397.
Stanton, Andrea L. (2012). Cultural Sociology of the Middle East, Asia, and Africa: An Encyclopedia. SAGE. ISBN 9781412981767.
Cavendish, Marshall; Corporation, Marshall Cavendish (2006). Peoples of Western Asia. Marshall Cavendish. ISBN 9780761476771.
Don; Hunt, Mary (1990). Hunts' guide to southeast Michigan. Waterloo, Mich.: Midwestern Guides. ISBN 0962349909.
"Dabke". Canadian Palestinian Association in Manitoba. It is performed in Lebanon, Jordan, Iraq, Syria, Palestine, Hatay and Northern Saudi Arabia.
Jump up ^ "Turns out the dabke is an Israeli dance, according to The New York Times". Mondoweiss. 4 August 2013.
Jump up ^ Cohen, Dalia; Katz, Ruth (2006). Palestinian Arab Music: A Maqam Tradition in Practice. University of Chicago Press. ISBN 9780226112985.
Jump up ^ "Dabke | General Knowledge | Simply Knowledge". simplyknowledge.com.
Jump up ^ "Dabke". Canadian Palestinian Association in Manitoba.
Jump up ^ "Dancing the Dabke – Archaeoadventures Tours to the Middle East and North Africa". Archaeoadventures Tours to the Middle East and North Africa. 22 April 2012.
Jump up ^ Kaschl, Elke (2003). Dance and Authenticity in Israel and Palestine: Performing the Nation. BRILL.
Jump up ^ The Arab World, Volume 8. Arab Information Center. 1962.
^ Jump up to: a b c "كل الاردن". Allofjo.net. Retrieved 2017-01-07.
Jump up ^ Cohen, Katz, 2006, pp. 271–274.
^ Jump up to: a b c d e f هشام عارف الموعد ومأمون احمد الموعد. فوكلور العرس و الغناء الشعبي: ليلة الحنا>.سلسلة التراث الشفوي الفلسطيني الجزء الأول.
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Jump up ^ وليد ربيع, عبد العزيز ابوهذبا, عمر حمدان, محمد علي احمد. قرية ترمسعيا. "الفصل العشرون – الاغاني".
Jump up ^ Badley, Bill and Zein al Jundi. "Europe Meets Asia". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 1: Africa, Europe and the Middle East, pp 391–395. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0
Jump up ^ "Dabke appeals to Westerners, Arabs alike". Arabamericannews.com. Retrieved 2017-01-07.
Jump up ^ [2]
Jump up ^ "Shweir". Shweir.com. 2013-12-07. Retrieved 2017-01-07.
Jump up ^ "Naharnet — Lebanon's leading news destination". Naharnet.com. Retrieved 2017-01-07.
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External links
Wikimedia Commons has media related to Dabke.
A variety of The Jordanian Dabke performed by Al Yarmouk University Folk Troupe.
Jordanian Dabkeh Performed By Al-Ramth Youth Folk Troupe
Jordanian Dabke (Tas'awiya) – Ma'an 1975
El-Arish Dabka
Palestinian Dabkeh performed in London
La Troupe Folklorique Les Chevaliers du Liban (Montréal, Canada)
Palestinian Dabkeh Troupe (Hurriyah Dabkeh Troupe)[permanent dead link]
Al-Juthoor Dabkeh Group
Al-Juthoor performs in the San Francisco Ethnic Dance Festival
El-Funoon Dabkeh Group
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