Hubbry Logo
TahtibTahtibMain
Open search
Tahtib
Community hub
Tahtib
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Tahtib
Tahtib
Tahtib
View on Wikipedia
from Wikipedia
Tahtib
Egyptian men playing tahtib, 2019
Also known asfan a'nazaha wa-tahtib
Focusweaponry
Country of originUpper Egypt
Related artsstickfighting
Meaningthe art of being straight and honest through the use of stick
Image of two ancient Egyptian men practicing tahtib on an ostracon

Tahtib (Arabic: تحطيب, romanized: taḥṭīb) is the term for a traditional stick-fighting martial art[1] originally named fan a'nazaha wa-tahtib ("the art of being straight and honest through the use of stick").[2] The original martial version of tahtib later evolved into an Egyptian folk dance with a wooden stick.[3][4] It is commonly described in English as a "stick dance", "cane dance",[5] "stick-dancing game", or as ritual mock combat accompanied by music.[6] Nowadays, the word tahtib encompasses both martial practice and performance art. It is mainly practiced today in Upper Egypt. Tahtib is regularly performed for tourists in Luxor[7] and Aswan.[8]

The stick used in tahtib is about four feet in length and is called an asa, asaya, assaya, or nabboot. It is often flailed in large figure-eight patterns across the body with such speed that the displacement of air is loudly discernible.

History

[edit]
Engravings at the Abusir necropolis showing scenes of archery, wrestling, and stick fighting

The oldest traces of tahtib were found on engravings from the archaeological site of Abusir, an extensive necropolis of the Old Kingdom period, located in the south-western suburbs of Cairo. On some of the reliefs of the Pyramid of Sahure (V dynasty, c. 2500 BC);[9] the images and explanatory captions are particularly precise and accurate in their depiction of what seems to be military training using sticks. Tahtib, with archery and wrestling, was then among the three disciplines of warfare taught to soldiers. Three of the 35 tombs of the Beni Hassan necropolis (XI-XII Dynasties, 1900 – 1700 BC) near the town of Minya,[10] contain engravings showing scenes of tahtib. Similar engravings can be seen in the archaeological site of Tell el Amarna (XVIII Dynasty, 1350 BC),[11] some 60 km south of Minya. In addition to its role as military training, tahtib matches were also popular among peasants and farmers. The first evidence of the festive representation of tahtib can only be seen in the New Empire (1500 – 1000 BC), as shown by the engravings on the walls of Luxor and Saqqâra[12] Early Christian writings mention tahtib as a leisure activity and a popular art performed by men during weddings and celebrations. It is believed that tahtib developed as a game or performance art in this civilian context.

Performance

[edit]

As with its combative counterpart, the dance form of tahtib was originally performed by men, but female versions were later developed. In one form, the women dress as men and imitate the males. Another female variant is performed flirtatiously and with less aggression. The latter, called ra's el assaya (dance of the stick) is incorporated into cabaret or Raqs sharqi performances. The stick used for this dance is generally more lightweight and hooked at one end like a cane. It is often embellished with metallic-coloured foil or sequins. The costume is a simple baladi dress. Performances include balancing the cane on the head, hip or shoulder.

Music

[edit]

Music in tahtib features the tabl (bass drum) and mizmar (folk oboe).[13] The right hand uses a heavier stick with a hooked head to beat out the dum (the deep sound from striking the center of the drum) which drive the heartbeat of the rhythm, while the left hand uses a light twig as a switch to produce rapid-fire staccato "taks" (the higher sound from striking the edge of the drum).

Modern tahtib

[edit]

Modern tahtib[14] is an attempt to re-explore the sources of tahtib as a fighting art, and to enrich them as a martial practice[15][16] by codifying the techniques and teaching them structurally. As in traditional tahtib, the main target is the opponent's head, as it is considered the most fragile and vulnerable part of the body. Consequently, techniques revolve around protecting one's own head while reaching the head of the opponent. Victory can be attained either by a single clean touch to the head, or three touches to the body. Unlike its traditional counterpart, modern tahtib allows both women[17] and men to practice in mixed groups.[18]

See also

[edit]

References

[edit]

Further reading

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Tahtib

View on Grokipedia
from Grokipedia
Tahtib is an ancient Egyptian martial art and characterized by choreographed combat using a long wooden stick, known as a shouma, typically about 1.3 meters (4 feet) in length. Originating as a form of military training during Egypt's around 2649–2130 BC, it involves pairs of performers executing precise strikes, blocks, and flourishes to demonstrate skill, agility, and rhythm, often accompanied by traditional music from instruments like the tabl drum and mizmar reed pipe. Over millennia, Tahtib has evolved from a discipline into a ceremonial symbolizing honor, pride, and cultural continuity, particularly in regions such as , , and , where it is showcased at weddings, festivals, and celebrations. The earliest depictions of Tahtib appear in reliefs from the in , dating to the 26th–25th century BC, illustrating as one of three core warrior disciplines alongside and wrestling. Further evidence from the Beni Hassan tombs (c. 1900–1700 BC) and the (c. 1350 BC) shows its use not only in military contexts but also as a sport and entertainment, with engravings capturing combatants in dynamic poses. By the New Kingdom (1550–1153 BC), Tahtib had integrated into festival processions at sites like and , transitioning toward non-lethal, ritualistic displays that emphasized artistry over aggression. Historically male-dominated, Tahtib later inspired female variants, such as the Saidi style and Raqs al Assaya (cane dance), incorporated into belly dancing (raqs sharqi) during the 20th century. In modern times, it has been revived as a competitive sport and performance art, notably through the efforts of the Reda troupe in the 1950s and practitioner Adel Boulad, leading to its inscription on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity in 2016. Today, Tahtib preserves Egypt's 4,500-year-old heritage through informal transmission across generations, blending combat techniques with festive elements to foster community and national identity.

Origins and History

Ancient Egyptian Roots

The earliest evidence of Tahtib, or , appears in tomb engravings from the , dating to around 2500 BC during . These depictions illustrate combatants engaged in alongside and wrestling, suggesting an integrated approach to physical and martial conditioning in ancient Egyptian society. The scenes, found in multiple tombs within the , portray figures wielding long sticks in structured confrontations, highlighting the practice's role in early military preparation. More elaborate illustrations emerge in the tombs, constructed between 1900 and 1700 BC during the XI-XII Dynasties of the Middle Kingdom. Three of the 35 tombs in this necropolis near Minya contain detailed engravings of systematic stick combat training, depicting soldiers practicing techniques with staffs to simulate battlefield engagements. Notable examples include the tomb of Amenemhat, where murals show paired fighters executing strikes, blocks, and footwork, often integrated with wrestling holds for comprehensive soldier instruction. These representations emphasize disciplined training sequences, underscoring Tahtib's evolution as a formalized exercise. Further references to Tahtib appear in the Tell el , around 1350 BC in the XVIII Dynasty of the New Kingdom. Tomb scenes here, such as those in the nearby Theban tomb of Kheruef (TT192), depict organized exercises involving groups labeled as "people of Pe" and "people of Dep," symbolizing regional or ritualistic military drills. These illustrations link the practice directly to imperial military routines, with combatants using staffs to build agility and coordination. Throughout these ancient depictions, Tahtib served primarily as a training method to develop combat skills, sharpen reflexes, and enhance endurance, preparing warriors for real battles with weapons such as spears and staffs. This foundational role positioned it as an essential component of Egyptian education before 1000 BC, fostering physical prowess without lethal risk.

Historical Evolution

During the New Kingdom (c. 1500–1000 BCE), Tahtib began shifting from a primarily training discipline to a component of ceremonial festivals and leisure activities, where demonstrations evolved into stylized performances integrated into public celebrations. This transformation is evident in reliefs and inscriptions depicting mock combats as part of ritual entertainment, marking Tahtib's early adaptation beyond battlefield preparation into cultural expression. Tahtib maintained continuity as a rural tradition in through the Ptolemaic (305–30 BCE), Roman (30 BCE–641 CE), and early Islamic periods (7th–10th centuries CE), serving as a means for resolving disputes among villagers and as a for young men to demonstrate prowess and maturity. In these eras, the practice persisted in agrarian communities, where it functioned both as informal against threats and as a communal display of skill during social gatherings, reflecting its embedded role in local customs despite broader political changes. Under Ottoman rule (16th–19th centuries), Tahtib flourished in Egyptian villages as a vital form of amid rural instability and as a social spectacle showcasing male virility, frequently performed at weddings and harvest festivals with choreographed mock battles accompanied by traditional music. Practitioners wielded the asaya (stick) in village settings to settle feuds or celebrate communal events, preserving its dual martial and performative dimensions within the fabric of everyday life. In the 19th and early 20th centuries, European travelers and Egyptian scholars documented Tahtib's persistence in folk customs, such as Edward William Lane's observations of stick dances at rural festivities, even as modernization efforts under and British influence led to its gradual decline in urban areas due to and the promotion of Western sports. These accounts highlighted Tahtib's endurance in Upper Egyptian traditions amid encroaching changes, underscoring its symbolic value in maintaining .

Techniques and Forms

Martial Techniques

Tahtib, as a traditional combat form, centers on the use of the asa, a wooden stick approximately four feet (1.3 meters) in length, typically crafted from sawn-off naboot palm or similar resilient woods like rattan for its fibrous and supple properties. The asa is gripped firmly with one or both hands, allowing for versatile handling that emphasizes control, speed, and power generation from the hips and shoulders. Practitioners train to wield it in fluid motions, often incorporating forearm guards historically derived from ancient Egyptian practices to protect against strikes while enabling counterattacks. This stick serves as both offensive weapon and defensive tool, simulating swordplay in its mechanics. Fundamental stances form the foundation of Tahtib's posture, promoting balance and readiness for engagement. The neutral guard stance positions the feet shoulder-width apart with knees slightly bent, the back leg straight in a short lunge, and heels raised for mobility; the stick is held vertically in a high guard to cover the head and upper body. An offensive lunge involves a forward step with hip rotation to generate momentum for strikes, shifting weight dynamically while maintaining a low center of gravity. Defensive blocks raise the stick horizontally or at an angle to incoming attacks, particularly those aimed at head level, using the guard to absorb or redirect force. These stances derive from ancient depictions in Egyptian tombs, emphasizing lateral orientation to minimize exposure. Key strikes in Tahtib exploit the asa's length for reach and impact, focusing on precision to target vulnerabilities without unnecessary risk. The overhead smash delivers a direct downward arc from the high guard, harnessing and for a powerful chop primarily to the head or shoulders. Figure-eight swings create circular patterns that the stick across the and legs, disorienting opponents through continuous motion and multi-angle threats. Thrusting jabs extend the asa like a for poking strikes to the body, probing defenses or capitalizing on openings. These techniques prioritize feints and timing, with movements originating from elbow and pivots to maximize force while allowing quick recovery. In traditional Tahtib , rules stress and over brutality, conducted without armor to heighten the emphasis on precision and control, thereby avoiding severe injury. Matches typically involve two unarmed practitioners beyond their sticks, prohibiting or , and conclude upon submission, a decisive strike, or a successful head contact in codified variants. The head remains the primary target, symbolizing a blow in historical military training contexts, with body strikes requiring multiple connections (often three) to score. This framework, rooted in ancient Egyptian warrior preparation, fosters mutual respect and , as evidenced in tomb reliefs from sites like .

Performance Elements

Tahtib performances emphasize choreographed sequences that transform the martial art into a theatrical , featuring synchronized duels where participants mirror each other's movements to simulate without physical contact. These duels incorporate dynamic spins, leaps, and rhythmic clashing of sticks, creating a visually striking display of and precision that builds tension through escalating rhythms. Performers often move in circular patterns around one another, executing 30 to 60 distinct movements across eight forms, with footwork that accelerates or decelerates in harmony with the accompanying music. Gender variations in Tahtib highlight distinct expressive styles, with traditional male performances conducted in open circles during communal events such as weddings and festivals, where men wield sturdy asaya sticks to demonstrate . In contrast, the variant known as ra's el assaya employs a lightweight, hooked cane for flirtatious and graceful motions, often playful and less aggressive, sometimes with women imitating male forms while incorporating seductive elements from Saidi dance traditions. This adaptation allows women to engage in the art while maintaining a feminine aesthetic, evolving from the male-dominated practice into a more inclusive performance form. Stage adaptations of Tahtib feature group formations such as lines or pairs, prioritizing collective harmony over individual combat to showcase agility, balance, and visual flair for audiences. These structured routines, often performed in regions like and , draw to witness the at cultural festivals and venues, where performers in colorful galabeyas execute synchronized patterns that blend with theatrical presentation. The Reda Troupe's 1950s revival further popularized these adaptations by integrating Tahtib into professional shows, emphasizing ensemble dynamics and narrative elements. Safety in Tahtib performances is ensured through controlled swings that graze rather than strike forcefully, using lighter ceremonial rods to prevent injury while preserving the art's intensity. Stylistic flourishes, such as intricate stick twirls and improvisational footwork rooted in Egyptian , add layers of artistry, allowing performers to transition seamlessly from defensive stances to celebratory dances. These elements underscore Tahtib's evolution into a non-violent spectacle that honors its ancient origins while captivating modern viewers.

Cultural and Social Aspects

Symbolism and Significance

Tahtib emphasizes principles of and upright conduct in its , reflecting concepts of and moral purity through the use of a stick. The term "tahtib" derives from the word hatab, meaning "" or "dry tree branches," reflecting the humble origins of the wooden stick, or asa, used in the art. This underscores its pre-Islamic roots in , where depictions of date back to the Old Kingdom around 2500 BCE, highlighting a continuity of cultural practice predating influences. The asa holds profound symbolic value, representing strength, honesty, and masculinity within Egyptian rural traditions. It embodies the of nazaha, or straightness, izing moral purity and honor rather than , with practitioners expected to maintain during exchanges. As a phallic , the stick also signifies and manhood, particularly in performances tied to ceremonies that evoke ancient rites celebrating renewal and vitality. In Upper Egyptian , tahtib serves as a for young men, instilling discipline, respect, and non-lethal through structured, rule-bound interactions that prioritize over violence. Practitioners learn to control aggression, honor opponents, and embody communal values like courage and mutual friendship, fostering personal growth and social harmony without resorting to . This socialization process reinforces codes of conduct, preparing participants for adult roles while building confidence and pride in their heritage. Beyond individual development, tahtib symbolizes the resilience of Upper Egyptian identity and the enduring legacy of Nile Valley rural life, preserving ancient martial traditions amid modern changes. As a non-violent expression of ancient heritage, it connects contemporary communities to pharaonic-era practices, embodying cultural continuity and communal strength in regions like , , and . Through its emphasis on shared values, tahtib reinforces Egyptian national pride and the unbroken thread of historical traditions.

Role in Society and Festivals

Tahtib holds a prominent place in the social fabric of rural , where it functions as a communal activity that reinforces social bonds and among Saeedy communities. Historically, it has been performed during social gatherings to promote values such as mutual respect, , and confidence, with practitioners demonstrating controlled skill in public settings to foster friendship and family ties. In rural areas, tahtib also served practical social roles, including the peaceful resolution of disputes through ritualized confrontations guided by "" ethics, which emphasized preserving rights and maintaining community harmony without escalating to violence. A key aspect of tahtib's societal integration is its role in weddings, where performances provide and highlight participants' prowess and , often taking place in village squares amid celebrations. These displays, accompanied by traditional music, serve as a for young men while uniting families and guests in joyous communal participation. In festival contexts, tahtib features prominently in Upper Egyptian holidays and celebrations, where it enhances community bonding through competitive exhibitions that showcase regional pride and skill. Events such as these, including annual gatherings organized by cultural authorities in , allow villagers to gather, transmit traditions to younger generations, and celebrate agricultural cycles with rhythmic stick routines that embody collective strength. Traditionally male-dominated, tahtib's practice reflects gendered social norms, with men from all ages participating as a demonstration of manhood and honor, while women have historically supported its continuity by encouraging male relatives to train. In recent years, women have increasingly participated in modern adaptations, such as mixed performances and cane dances, expanding its accessibility. Though evolving norms have begun to introduce limited female involvement in supportive or performative roles. In contemporary rural settings like , tahtib promotes and helps preserve folk identity by drawing visitors to authentic demonstrations, thereby sustaining its relevance in daily customs.

Music and Accompaniment

Instruments

The traditional musical instruments of Tahtib primarily consist of percussion and elements that provide rhythmic drive and melodic intensity to accompany the performers' movements. These instruments, rooted in Egyptian folk traditions, emphasize loud, penetrating sounds suitable for outdoor festivals and processions in . The core ensemble revolves around the tabl and mizmar, which together create a dynamic that underscores the martial and celebratory aspects of the art form. The tabl, also known as the tabl baladi, is a large double-headed that serves as the rhythmic foundation in Tahtib performances. Constructed with a wooden frame typically 50-60 cm in diameter, it features heavy goat-skin heads stretched tightly over both sides, allowing for resonant bass tones. The drum is suspended from a belt around the player's and played using two wooden sticks: a thicker one for deep "dum" beats and a thinner one for sharper "tak" accents, producing powerful, pulsating rhythms that dictate the pace and intensity of the performers' stick-handling movements. The mizmar, a folk oboe-like reed instrument, delivers the melodic lines that heighten the excitement of Tahtib, often evoking battle calls through its shrill, piercing tones. It is crafted from a single piece of , such as or , forming a conical body about 30-40 cm long with seven finger holes and a thumb hole for pitch variation; a made from cane is attached to a metal staple for vibration. Played with and precise control, the mizmar produces bright, loud sounds that cut through ambient noise, mimicking calls to action and infusing the performance with urgency. These instruments trace their origins to ancient Egyptian percussion and wind tools, such as double-headed frame drums and reed aerophones depicted in tomb reliefs from (c. 2686-2181 BCE), which were used in military training and rituals. During the Islamic era, particularly from the medieval period onward, they were adapted into folk ensembles characteristic of , evolving from ceremonial uses to accompany rural celebrations and martial displays like Tahtib. In Tahtib ensembles, the setup typically features one tabl paired with two to three mizmars, forming a compact group that leads processions or encircles the performers to maintain synchronized energy. This configuration, known as the mizmar wa tabl baladi, ensures the bass s anchor the melody while the reeds amplify the festive atmosphere.

Rhythmic Structure

The rhythmic structure of Tahtib is anchored in the Saidi rhythm, a steady 4/4 beat primarily driven by the tabl drum, which underpins the performers' footwork and foundational movements. This consistent pulse allows for synchronized steps and positioning, evoking the disciplined cadence of martial training while facilitating the fluid transitions between defensive and preparatory stances. As performances progress, the often accelerates, incorporating faster tempos that heighten the energy during spins and stick clashes, thereby generating a and release that mirrors the escalating intensity of . The mizmar contributes melodic variations that align closely with the visual , such as figure-eight swings of the stick, where its piercing, reedy phrases punctuate and flourishes of the performers' actions. These lines frequently incorporate call-and-response elements, with the instrument's improvisational motifs echoed by the performers' vocal shouts—such as exclamations of encouragement or challenge—that integrate the auditory and kinetic elements into a cohesive . Tempo dynamics play a crucial role in structuring Tahtib sequences, beginning with deliberate, slow builds that emphasize defensive postures and spatial awareness, then surging into rapid crescendos to propel offensive maneuvers like strikes and evasions. This progression ensures precise among group participants, where individual actions harmonize with the collective beat to maintain formation and rhythm without chaos. In group settings, the music's escalating pace fosters unity, allowing performers to anticipate and counter each other's movements in real time. These rhythms draw from Upper Egyptian folk traditions, rooted in rural communal practices that blend agricultural cycles with celebratory expressions, adapted over time to amplify the martial-dance hybrid of Tahtib while keeping the accompaniment supportive rather than dominant over the physical display.

Modern Developments

Revival and Codification

Tahtib experienced a significant decline in the early , primarily due to rapid in , which disrupted traditional rural transmission and shifted focus toward modern global sports. As urban populations grew from about 30% in the mid-20th century to around 43% as of the , the practice, once integral to village life in , faced the risk of extinction amid changing social structures and reduced opportunities for communal . Revival efforts gained momentum in the 1970s through cultural preservation initiatives by Egypt's Ministry of Culture, which officially named the practice "Tahtib" and organized annual demonstrative festivals in Luxor to promote its performance aspects. These events helped sustain interest during the 1970s and 1980s, bridging traditional roots with broader public engagement, though the martial elements remained secondary to festive displays at the time. Building on this foundation, codification as a structured martial art advanced in the late 20th and early 21st centuries, led by pioneers such as Dr. Adel Boulad, who began extensive research into Upper Egyptian variants around 2000 and formalized Modern Tahtib in 2014. Boulad's work, detailed in his 2014 book Modern Tahtib: Egyptian Baton Martial and Festive Art, established standardized techniques, including 13 codified forms and four jousting patterns emphasizing precision, control, and non-lethal strikes to preserve the art's historical combat essence while adapting it for contemporary safety. Key rules include victory achieved by grazing the opponent's head or delivering double simultaneous touches to different body parts, with prohibitions on direct head strikes or joint hits to ensure participant safety; matches typically involve controlled jousts without mandatory protective gear, prioritizing technique over force. This codification shifted Tahtib from informal rural sparring toward a sport-like discipline, focusing on head-targeting maneuvers and rhythmic precision to honor its ancient military origins in soldier training. In the and , associations emerged to further standardize training curricula, such as the Association for Education and Development, which integrated Tahtib teams into cultural programs emphasizing non-lethal precision and form-based instruction for youth and adults. The Historical African Martial Arts (HAMA) Association, founded in 2017 by Boulad, expanded this by offering certified instructor programs and train-the-trainer cycles that codify curricula around core techniques like defensive blocks, feints, and 360-degree mobility, making the art accessible beyond traditional male practitioners. These efforts culminated in UNESCO's 2016 recognition of Tahtib as an , reinforcing standardized practices rooted in values of respect and . A notable evolution during this period was the introduction of mixed-gender participation in the and , particularly through Modern Tahtib programs that adapted techniques for inclusivity, such as moderated contact levels and form-focused drills to ensure safety for women alongside men. This shift, supported by associations like , broadened Tahtib's appeal, allowing female practitioners to engage in both martial and performative elements while maintaining the art's emphasis on controlled, precise movements.

Contemporary Practice and Spread

In contemporary Egypt, Tahtib training occurs through dedicated academies and schools in and , where programs integrate its martial techniques with dance-like performance elements to appeal to diverse learners. In , Modern Tahtib organizes monthly workshops and private sessions that focus on building , self-defense skills, and an understanding of the art's cultural roots, making it accessible to both locals and visitors. Similarly, the first specialized Tahtib school in , , established in 2020, offers three-month courses combining practical drills with theoretical instruction to promote fitness, finesse, and the preservation of regional traditions. Tahtib has become integral to Egypt's , with vibrant performances staged at historic sites and festivals in and to captivate international audiences and support local economies. These displays, often featuring synchronized stick maneuvers to traditional music, have grown in popularity since the , coinciding with the recovery and expansion of Egypt's sector, and provide vital income for performing artists from . The art's global spread has accelerated through international martial arts festivals and cultural exchanges, introducing Tahtib to audiences in and the . Notable demonstrations include Modern Tahtib's appearance at the International Festival of Martial Arts in in 2016 and an exhibition at the in 2015, fostering interest among overseas practitioners. Small communities in have adopted adapted versions, incorporating Tahtib into university clubs and training programs that emphasize its non-violent, respectful ethos alongside physical discipline. Following its inscription on UNESCO's Representative List of the of Humanity in 2016, ongoing efforts seek to elevate Tahtib's profile, including pushes for Olympic recognition to ensure its long-term vitality. Challenges persist, particularly in overcoming traditional barriers—historically a male practice—and mitigating the effects of commercialization, which can dilute authenticity through tourist-oriented adaptations. Modern initiatives in are addressing inclusion by welcoming female participants, such as trainee Zainab Hussein Anwar, who engage in mixed or parallel sessions to promote broader accessibility.

References

  1. https://www.ancient-origins.net/history-ancient-traditions/tahtib-0015734
  2. https://egypt-museum.com/tahtib-dance/
  3. https://tahtib.com/5000-years-ago/
  4. https://tahtib.com/the-rural-stage/
  5. https://archive.org/details/mannerscustomsof00lane/page/384/mode/2up
  6. https://ejmas.com/jcs/2007jcs/jcsart_riddle_0807.html
  7. https://blackbeltwiki.com/tahtib
  8. https://csa-living.org/oasis-blog/tahtib-the-ancient-egyptian-martial-art-that-turned-into-a-folk-dance
  9. https://www.rfi.fr/en/africa/20170527-egypt-s-5000-year-old-secret-tahtib
  10. http://www.shira.net/about/tahtib.htm
  11. https://english.ahram.org.eg/News/389184.aspx
  12. https://lampmagician.com/2023/06/10/tahtib-a-branch-of-dry-trees-hatab-not-to-fight-for-but-to-dance-with/
  13. https://ich.unesco.org/en/RL/tahteeb-stick-game-01189
  14. https://english.ahram.org.eg/NewsContent/32/99/454309/Heritage/Heritage-special/Tahteeb-Ancient-practice-that-is-still-popular-in-.aspx
  15. https://exploreluxor.org/tahtib/
  16. https://egyptiangeographic.com/en/news/show/376
  17. https://www.africanews.com/2021/04/29/ancient-egyptian-martial-art-tahtib-becomes-modern-art-sensation-in-cairo/
  18. https://www.dailynewsegypt.com/2018/05/08/tahtib-martial-art-turned-dance/
  19. https://www.shira.net/about/tahtib.htm
  20. https://www.maqamworld.com/en/instr/tabl_baladi.php
  21. http://www.gildedserpent.com/cms/2011/07/09/sawa-egyptian-percussion-instruments/
  22. https://organology.net/instrument/mizmar/
  23. https://omeka-s.grinnell.edu/s/MusicalInstruments/item/2367
  24. https://exhibitions.kelsey.lsa.umich.edu/galleries/Exhibits/MIRE/Introduction/AncientEgypt/AncientEgypt.html
  25. https://cool.culturalheritage.org/byform/mailing-lists/cdl/2007/0708.html
  26. https://nyfolklore.org/egyptian-saidi-dance/
  27. https://www.channelingstudio.ru/music/12-ROR_Guide-ch10-sajat.pdf
  28. https://www.youtube.com/watch?v=6Fopnpg0V4E
  29. https://www.youtube.com/watch?v=dQgL-1XtNNo
  30. https://www.sharqidance.com/blog/saidi
  31. https://www.melodigging.com/genre/raqs-baladi-3662
  32. https://data.worldbank.org/indicator/SP.URB.TOTL.IN.ZS?locations=EG
  33. https://tahtib.com/the-founder/
  34. https://www.amazon.com/Modern-Tahtib-Egyptian-Martial-Festive/dp/2846173389
  35. https://tahtib.com/wp-content/uploads/2021/03/Q-A-about-Modern-Tahtib.docx.pdf
  36. https://english.aawsat.com/home/article/2945516/ancient-egypt-martial-art-enthusiasts-eye-olympic-status
  37. https://ichngo.net/network_detail/?category=&id=241&subject=ICHGRAM
  38. https://hamaassociation.wordpress.com/community/
  39. https://tahtib.com/wp-content/uploads/2021/03/TTT-Principles-and-planning_EN_V4_Group-in-one-location.pdf
  40. https://www.facebook.com/ModernTahtibOfficial/
  41. https://tahtib.com/presentation/
  42. https://see.news/1st-tahtib-school-opens-in-egypt
  43. https://www.youtube.com/watch?v=GTHIIxKi6js
  44. https://www.youtube.com/watch?v=zlTQISvqFac
  45. https://www.africanews.com/2021/04/29/ancient-egyptian-martial-art-tahtib-becomes-modern-art-sensation-in-cairo//
  46. https://www.france24.com/en/live-news/20210429-ancient-egypt-martial-art-enthusiasts-eye-olympic-status
Add your contribution
Related Hubs
User Avatar
No comments yet.