“Your not a real belly dancer if you can’t play zils–you might as well be a lyrical or a jazz dancer.”

That is a pretty outrageous statement I made in class recently in response to the suggestion that it is better not to play finger cymbals at all if you are not good at them.

It would have been kinder to say that it is worth every dancer’s time and effort to learn to play the zils while dancing. Some dancers categorize certain elements of Middle Eastern dance as “props.” These articles (veils, swords, canes, daggers, scarves, shawls, zils, etc.) should be considered as intrinsic to the dance in a way not often considered for props on stage in acting and dance. If you consider you zils a “prop” you won’t reach your full potential as a zil player, but you can still master the basics.

I prefer to think of the zils as a musical instrument innate to the art form that is Belly Dance. This attitude generates a more active and intricate role for the zils in the dance.

Whatever role you give your zil playing, there are many reasons to become comfortable with your zils.

They represent “exotic belly dancer” to the public. Playing finger cymbals impresses the “masses.”

No matter what catastrophe may occur to your sound system or musicians, you always have music to dance to. I carry mine with me all of the time and get a lot of pleasure out of playing for other dancers (when they request it as well as when I am dancing myself.)

I miss my zils if I don’t have them with me. Although, that may just be a personal problem!

The process of studying finger cymbals enhances the dancer’s understanding of and feeling for the music and the dance immeasurably.

There is no excuse not to learn! It is so much easier to learn how to play today than it was when I started dancing in 1977. There are many excellent rhythm CDs and teaching videos/dvds on the market today.

The most common question I am asked by students is about where to get zils and what kind is the best. I don’t encourage beginners to the dance to invest a lot in zils. A good zil player can make the cheapest pot metal zils sound great, even without the sweet ring of bell brass.

Once a student knows what she is doing she will find it easier to choose the size, tone, and type of zil she prefers. The size you get as well as the style (Turkish curved lip, flat lip, or decorative cut edges) should match your hand size and strength, and your style of playing.

When I speak of style of play I am referring to how many different textured sounds you make with your zils; because I like to use a wide range of sounds. I find I use my Saroyan Professionals and my Saroyan Ghawazees the most frequently. I am an admitted zils freak and I collect (and love) all different types and tones. What I play depends on my mood and what I think goes best with the music I am dancing to.

It is best to start with small light weight zils (the cheapies) and work up to the bigger, heavier zils. Your hands will get tired at first, but if you are experiencing real pain when you play then your technique is wrong. When you get your “good” zils always keep them in their own little zil bag.

I think that I did everything wrong that you can do wrong with zils when I began playing. My first set of my own (not borrowed from Gita) I bought in early 1978 from Turquoise International. They were 3” Dervish zils and I loved them, but I hadn’t a clue what I was doing. I only have one of them today (I never made them their own little bag). I am planning to sew it on one of my tribal costumes. Keep your zils in their bag and you will have them ready to play for the rest of your life.

The quality zils made by Turquoise International or Saroyan Mastercrafts are virtually indestructible. My Arabesque II’s have a dent in one of them from to many frisbee-like flights off my fingers. They still sound great.

I like to sew the elastic, and re-sew as it loosens, or when I get around to it. Hence the frisbee zils. Mother (Gita) likes to pin hers with the pin on top of the finger and thumb. Jamila Salimpour ties hers in a square knot. Whatever works for you as long as the elastic doesn’t get in the way and mute the zils while you play.

If you have the Syrian single hole zils you will find them easier to maneuver if you use flat elastic in them.
I think it is best for beginners to practice to instrumental music. The vocals can be distracting when you are learning the Afro-Asiatic rhythms.

In my classes we learn these rhythms as we learn the zils and I will often show how these rhythms sound on the drum, Riq, and zils to help build rhythm awareness.

I do believe it is a mistake to learn only number patterns with the zils. I think a free flowing combination of rhythms, rhythm syncopation, and number patterns is best even from the very beginning of your exploration of these instruments.

You will reach a point where you can play instinctively to music or a cappella as your feelings take you. That is when your zils, and your dance will feel barren without them.

If you have any questions or problem with your zil playing contact me and I will be happy to help.

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Last Updated on July 27, 2005