Thank you very much! Indeed, I studied with an ethnomusicologist specialized in the music of the Middle East and Magreb. We played some traditional pieces like Samai Bayati or Lamma Bada (by the way, the Taksim of Pùpa Pùpa is very inspired by Lamma Bada). The difficulty in these pieces is the position of the beats and weak beats in the rhythm which can destabilize when one is used to the Occidental rhythm. But normally, I followed the traditional Samai rhythm as best I could.
The only element that I could not render correctly in the piece of Pùpa Pùpa is the maqâm. This is the "modality" used in these pieces and these oriental modes have quarter tones. Unfortunately, for lack of time, I did not succeed in finding the way to integrate the quarter tones in the piece...
But apart from that, the piece meets the criteria of the Samai as well as possible.