Bedouin Flame

[Full notes] [Summary notes] [Other dances & the source code]

Formation Open circle, leader on the R end. Arms vertically down hold.
Dance Structure ((A x 2) + B) repeated throughout the music.
Music Structure 8 counts/bar, 4 bars/phrase.
Music Speed 150 counts/min.
Choreographer Stefan Freedman.
Composer Yasmin Levy.
Source Bethan Freedman in Little Bealings in 2011.

Disclaimer: Mistakes are quite likely in the notes and no guarantees are made as to accuracy. There may be other versions of the same dance or other dances with the same name. Music may differ, particularly in speed, introduction and duration, between performers. The division into parts, bars & counts might not be standard. These notes of the dance are freely distributable (under GPL or CC-by-sa) in so much as the note's author's contribution but the choreography and/or collection were by other people and so their copyright might apply to the dance itself. Better than using notes, go to a dance class where it is taught by Stefan or Bethan Freedman.

An Israeli type dance with styling similar to the Israeli Debka tradition set to Shephardic-based music.

I count the music in 8s (1 2 3 4 5 6 7 8 like "ONE two Three four Five six Seven eight") but it is probably written in 4s (1 & 2 & 3 & 4 & or 1 2 3 4 | 1 2 3 4) or 2s (1 2 | 1 2 | 1 2 | 1 2).

Style: Upright. Close. Brisk (almost staccatto) movements. Steps onto balls of feet but with the heel quite low to give more of an impression of flat steps.


Summary: Start when melody starts.

Wait through the introductory music (4 bars) and start dancing at the beginning of the in the bar in which the melody starts (note that the wind instrument carrying the melody only comes in on count 2 of that bar but there is a double drum sound on count 1 which can be used to start on).

Part A

Summary: R side, L close, R side, L touch. L side, R touch stamp x 2, pause.

Start Facing the centre of the circle. Weight on L foot. Arms vertically down.
1 R side.
2 L close.
3 R side.
4 L close without weight transfer.
5 L side.
6 R flat stamp close without weight transfer.
7 Repeat count 6 (R stamp close touch).
8 Pause.

Part B

Summary: R L R forwards, L stamp + brush forwards + lift + back, R in place. L brush forwards + lift + back,

Start Facing the centre of the circle. Weight on L foot. Arms vertically down.
1 R forwards.
2 L forwards.
3 R forwards.
4 L flat stamp close without weight transfer.
5 L brush forwards. The brush is done with the flat of the foot scuffing the floor and is done with no (or only a miniscule) preceding draw back of the foot. This gives it more of a feeling of a stamp (and so this & the preceding stamp give the impression of being like the double stamp at the end of Part A) that just somehow ends up with the foot raised infront.
6 L lift infront with bent knee & foot approx. parallel to the floor. This is done as a continuation of the preceding scuff.
7 L backwards. This is done as a continuation of the preceding lift (so the path of the foot in the combined scuff + lift + backwards is like a flattened back-bicycling step).
8 R in place
1-3 Repeat bar 1 counts 5-7 (L brush, L lift infront, L backwards). (Note: no additional stamp this time.)
4 R back.
5 L back.
6-8 As Part A counts 6-8 (R touch stamp x 2, pause).