The taxim (taqsim) and chiftitelli (tsifteltelli) are sections of the dance where the dancer utilizes body isolations
including undulations, arm and hand work and slow, sensuous movements. A taxim has no rhythm (no beat) and the
chiftitelli has 8 beats per measure (8/4 time). Dancers often incorporate balancing a sword or tray with a chiftitelli rhythm.
Chiftitelli (pronounced “shift uh TELL lee”) is believed to have originated as a Greek or Turkish drum rhythm. This
rhythm can either be played as a slow tempo often in a hypnotic fashion or it can be played moderate to fast. The fast up-
beat tempos of the chiftitelli originated as couple’s folk dances in Turkey and in Greece (tsiftetelli) and are considered
“festival” music. They are very flirtatious and playful.
As with most words from the Middle East, there are several different spellings for Taxim (pronounced “tock SEEM”)
-- Taksim, Taqsim, Takasim and Taxim. In Arabic, Taxim translates as “division”. It is an improvisation, where the
instrumental soloist bares his soul and expresses emotional sensitivity, depth and passion, playing variations on either the
rhythm or the melody.
Taxims can be played at the beginning of a piece by one soloist such as the clarinet or violin, especially in Arabic or
Egyptian music. You may also hear a taxim within a song improvised between the verses. Sometimes you will even hear a
taxim played over a rhythm, such as over top of karsilama 9/8 or beledi 4/4. A taxim in the middle of a piece is much like
a taxim at the beginning of a piece of music. One of the musicians (violin, ney, dumbeck, clarinet, oud, any instrument)
plays a taxim (solo or improvisation) while the rest of the band plays the rhythm. A taxsim may also make up a whole
song. There are several CDs that are devoted entirely to taxims.
A dancer responding to taxim should exhibit an inner intensity and a passionate but withdrawn demeanor. She should
appear to be dancing for herself only. It is a good idea not to look at the audience during a taxim. Look up at your hands,
down at your body, or keep your focus inside your body space.
The breath is used greatly to enhance one’s taxim and should surround the movements. The following visualization
technique may help you with performing a taxim. Imagine that you are breathing in the strains of music and that the
musical notes are dancing deep inside you. Regulate your breathing, making it very slow, rhythmical, smooth and deep.
Notice the calming effect in your mind and the relaxation of your muscles. Feel the energy flowing into your body.
Breathe smoothly and deeply as you dance and continue to breathe throughout your dance. Pretend your breath is
surrounding your movements. This will help you to relax your mind so that your body can move properly. Move to music
as if your body were the instrument being played. The same technique above can also be utilized while dancing to a
chiftitelli. The chiftitelli will feel different from a taxim — more predictable and monotonous as you will have a continuous
8 beat count throughout the music. Sometimes the musicians will rest on the 8 beat. There are still 8 counts to the music.
Take the time to pose. It will be brief but very effective.
The incorporation of a taxim or chiftitelli into an oriental routine is a nice addition. It gives the dancer and the
audience time to relax and really reflect on the beauty that is oriental belly dance.
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