1. The poetry

2. The music

3. The dance

4. References

The poetry

The hacha'a poetry is also known as Tajleebah, from Arabic تجليبة which means bringing back, and it is about bringing back emotional things like memories, a lost love, amending broken heart, and so on. ^[1]

The music

Hacha'a has its own mode called the Hacha'a mode of the Iraqi music. The most distinctive sound is that of the drum known as Khishba, Zanboor or Kasour, of which narrow tube-shaped body is wood, with a fish-skin head glued on top. The head is moistened and the drum is knocked very fast with both hands to get a rapid-fire sound characteristic, many beats faster than the main beat of the song. Iraqi traditional or modern musical instruments can be used.

The Hacha'a poetry mentioned above is sung in the Hacha'a mode, describing the suffering of love. The audience hand-claps and interjection verbally with "hacha'a", meaning to lie down, in an encouragement to finally get rid of all the love suffering by lying down, whether alone or with the loved one.

The dance

The Hach'a accompanying dance is an expressive dance that emphasizes complex movements of the hands and neck, with some hip movements This dance is a solo or group dance for women mostly, with sometimes a male drummer who dances circling the women. There are special moves for women with longer hair since they can swing and flail their hair around wildly in the dance.^[3]

The Hacha'a dance is also known as the Agraba, from the Arabic عقربة which means scorpion because of the perceived similarities between this dance's moves and the Iraqi scorpion moves.

The Hacha'a dance is also known as the Kawliya dance because of its association with the Iraqi Roma community.^[4]

The following are some defining characteristics of the Hach'a dance style^[5]

• Hair, head, shoulder and hip shimmies: Shimmies of all sizes are popular. One of the hallmarks of the style is that the dancer’s hair is a featured element. She will swing her hair in circles, whip it back and forth, even dangle and tremble it to create a hair shimmy. In addition to hair shimmies, a dancer will slide her head from side to side in a shimmy-like movement that is both delicate and saucy
• Hopping and floorwork: The dancer will frequently kneel to do hairspins, or to do rhythmic bouncing movements from the feet, hopping on both feet at the same time. The dancer may lay her head/hair from side to side as she bounces, or spin backwards, leading with the hips, or touch one foot down in front and back while the other holds her position.
• Daggers: The dancer sometimes holds a small dagger in each hand, or simply pretends to carry ones, and simulates poking them rhythmically into her heart and sides. These simulated stabs signify the pain of love and separation as well as sacrifice for the loved one.
• Finger snaps: two-handed finger snaps are commonly used
• Costumes: The typical costume is a floor-length dress, close-fitting but not skintight. It is typical for the dress to have some decoration at the hips and often the shoulder/chest area to highlight shimmies. A fringed belt may be worn over a curve-hugging long dress as well.

References

• MiniMoni ja Movie: Okashi na Daibouken!
• MiniMoni Ja Movie: Okashina Daibouken
• Minimoni ja Movie: Okashi na Daibōken!
• Mini Moni Jan-ken-pyon!
• Minimoni Jankenpyon! / Haru Natsu Aki Fuyu Daisukki!
• Minimoni Song Daihyakka Ikkan
• Minimoni Telephone! Rin Rin Rin / Minimoni Bus Guide
• Mini Monsters
• Mini-moog
• Mini-Moog Synthesizers
• Minimoog Voyager
• Minimoose
• Mini moto
• Mini-moto
• Minimoy
• Minimoys
• Mini MPV
• Mini MS 803 mine
• Mini MS-803 (South Africa)
• Minimum acceptable rate of return
• Minimum advertised price
• Minimum Age (Agriculture) Convention
• Minimum Age (Agriculture) Convention, 1921
• Minimum Age Convention
• Minimum Age Convention, 1959