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What's happening in your part of the world? The Middle seems very active with what has been reported in Behind the Veil (T.L. Sietz), but they seem to be directed at a localized area of the kingdom. Since the first issue of the Middle East Dance Coop newsletter (N.L. Barrett), I haven't heard a thing. Come on Farasha, do that leadership thing! And from all indications, al-Habub (J.K.White) has ceased to be published. Even the GPMEDA (Cyl Maljan) is quiet. I haven't even seen a news letter from Chandra!
Please call for reservations 814 355 8928
Special thanks goes our benefactor, the Barony of Bergental. They donated the use of their large tent (when it was not actually required for it intended use, the Runnymeade dinner) to our cause. Without this special gift, it would have been very hard to teach many of the classes in the blazing sun. My thanks to those who donated funds to renumerate our hosts.
Chengir named our little venture for us: al-Mul'lin (the School). Although he scheduled several classes on history and customs, our information network did not draw any to the school for these. However, his first wife did have several guests come to her class on period garb.
Of course there was much drumming (Savanas, David and I taught classes from noon to six every day.) Many students of last year returned, and many of the new students were doing quite well by the end of the week. (I couldn't believe that people would want to tape the sessions, but there were at least three cameras and several tape recorders present this year.) I'm planning on having four to eight new rhythms ready for next year.
Leonne Monhafoc taught many classes in basic dance, and Su'ad, Farasha, Alexis, and Gisele taught other sessions. The dance shows were held for the dancers by the dancers, which means that we will have to try for the public shows next year. The Middle Eastern Dance Coop (of the East Kingdom) also held meetings at the al-Mul'lin, and occasionally, the drum class was invited over to participate with the dance classes (like Farasha's zill class).
After teaching drumming, I had a pleasant surprise. Sadika came to the oasis from the Sun-Drenched Plains and we would spend an hour (houri?) or two playing the oud and guitar. It truly made my Pennsic (I'm learning something new!) Next year, maybe we will be able to extend the performance and classes to include material such as this (and singing, and customs, and Arabic, and...)
Of course, much more than classes occurred this year. In the first week (and I did teach classes during the first week) of the war, there was a hafla at the Oasis for the first few nights of the week. These were attended by various friends, old and new. Rena, Kamille, and Tsuranaga were regular attendees. Tsuranaga discovered that his sense of rhythm was sufficient that he took up the drum and was greatly pleased by his success. So much so that he sponsored a hafla on Friday night and joined one of our traveling Drum and Dance attack teams. He has taken the name Hassan (the grand Sultan of the Orient), and I am very pleased that he has joined us on this path.
Camped with us this year in the Oasis was Atesh and her family and my daughter Neefa with the folks of Black Beast. Aletha (and others from last year) were not there this year. I sill had space for about eight people if any had asked.
Honors abounded this year! Savanas and Farasha have been elevated to Masters of the Laurel, he for his drumming and she for her dancing. Farasha breaks new ground with this, as she is the first Laurel created in the East Kingdom for Middle Eastern Dance. ( And I was tagged twice, once for the Sycamore for teaching drumming, and once for the King's Order of Excellence for my efforts to affect the attitude of my chosen personna. I have Chengir abu Ben Said to truely thank for his guidance to this path, and without his example and guidance I would still be merely a false Turk!)
In particular, the "beginning" dancers (and I found that they were well beyond that stage) were very interested in learning about interaction with the drumming, how to count the beats, how to cue the drummers, and what moves went with what music. Thanks to the recent article in Thias Banu's newsletter, From behind the Veil, I was able to teach one of the dancing moves (the Myan) in a simple but effective way.
(Later, during the dance competition (I was one of the judges), each of these dancers incorporated some of the things we had covered that day. That impressed me in that they were willing to explore their new knowledge so quickly and confidently. For instance, Kitra had just picked up zills and started working with them. Then she danced with them in the competition. Another beginner had just learned the Myan and 7-beat rhythm and then incorporated them into her presentation (very gutsy!) A third beginner effectively incorporated working off the accents and melody in the drumming. (I apologize for not remembering all the names...there were so many of them!)
While there wasn't a formal drumming class, I did work with some of my students from Pennsic. They continue to develop their skills and repertoire of rhythms. They backed me up in the drumming competition and performed quite well.
After a grand feast (the dolhmas were great!), the drumming and dancing moved to a wonderful yurt-like structure (with grandstand seating and a central fire pit). There we danced and drummed for many hours. Sorriah taught some candle dancing, while Bridget tried to fake-out the drummers with chest-drops and slides during a long chiftetelli set.
I'd recommend this event to anyone who might be interested next year.
On dancers etiquette: Ooo, I'm so glad you asked. I've joked about teaching a class on this at Pennsic. I think there are a few situations with real etiquette requirements... First of all, small events, or events with a small number of dancers. I've noticed a tendency for the casual ME dancing to begin with solo's for each performer, then expanding into open dancing. I like this "setup", but I've occasionally noticed a dancer, who, intent on her solo dance, (you can generally tell by her body language/use of the floor space if she's trying to captivate the whole room, or just breaking the ice by being the first dancer out) suddenly is joined by another dancer(s) who didn't realize what was going on. Be sensitive to the atmosphere and to the other dancers...and if you're the "ice-breaker" dancer, feel free to give a gentle nudge to any hesitant-looking dancers on the sidelines. Don't try to drag anyone out against their will!
If you are hosting an event, and are planning on having your dancers entertain, *be sure* that you give visiting dances a chance as well...and preferably have some time for open dancing, for those that don't want to do a "performance" per se, but who still want to dance.
At Pennsic, or any event that involves dancing around a fire... Be aware of what is going on around you! If the dancers seem to be moving around the fire, then keep moving. It is *very* unpleasant to be stuck downwind of the fire, with smoke getting in your eyes while you dodge sparks, just because the dancer in from of you stopped. Don't stick someone in this position! Also, don't "trap" someone close to the fire...getting toasted is no fun either! Be very, very careful of veil work done near a fire--I wouldn't chance it at all, unless you can get a goodly distance away (your audience is probably wondering when your veil is going to catch fire anyway!) Be extremely careful of using any sort of "props" --canes, swords, candles, veils-- in a crowd of dancers. It is potentially dangerous, and the other dancers will end up dodging out of the way instead of dancing!
Well these are some point of dancer etiquette that come to mind...I guess the bottom line is that you should be considerate, and if you're dancing in a group, be aware of what is going on around you!
My interests in the Maghrib, al-Andalus and the Fertile Crescent (north-west Africa, Spain, and Syria) are covered very well by this writer. This is a very good text for personna development and background.
The only thing that would have made this a complete reference would be discussions on customs and day-to-day behavior of the inhabitants of these regions.
Approximately 200 pages of this 500 page text are dedicated to the periods spanning the 8th thru 15th centuries, with another 50 pages covering the Ottoman empire in the 16th to 18th centuries. It is available in paperback for about $15 (ISBN 0-446-39392-4)
Therefore, if your personna is of the Beduin (the desert folk, who felt their honor was greater than those of the towns), you should also find a tribal name for yourself (that is until Chengir tells us otherwise...)
The invitation to join the Caravan of the Khan is still extended to all as we wend our way though the perils of the Known Worlde. (For our new readers, the Caravan is a very loose association for our readers to gather under at events, if they are so inclined.)
Salam Alikum...
Durr al-Jabal abu Neefa min al Machfi Jabal, Sultan of the Orluk Oasis, Master of the Caravan of the Khan
I hope this letter finds you well, and recovering from a good War! I had a good time, danced a lot, and have come home with many good memories. Even though I didn't get down to the Orluk Oasis camp as much as I would have liked, I did attend several classes there...special thanks to Atesh for teaching Persian dance, and Leone for her fun and informative daily classes. It was nice to walk by and always hear drumming, and it was good to know that there was a contact point for the serious middle eastern drumming and dancing community!
I was favorably impressed by the dance contests at Pennsic...I participated in both "The Oasis" and the Pink Palace contests. It was such a relief to have *real* judges! The Oasis contest was nice in that the dancers were informed of the judging criteria. The Pink Palace contest was very long, and unfortunately the dancers were corned in a small area with no easy access to water, but everyone seemed to stay in good spirits, and the dancing was fun to watch. Also they had (I think) 3 winning places in each category, with lots of nice prizes.
I really liked the division into categories (beginning through advanced or professional). It gave the dancers a chance to dance (and be judged) at their own level. But here's where I get on the soapbox...
It was distressing to see so many dancers mis-classify themselves at the Pink Palace contest...some of them were misunderstandings, I'm sure, but the sign-up sheets had definite categories that I saw were blatantly ignored in some cases...for instance, the beginner's category was designated for dancers with 1 year or less of experience, but I saw several dancers who I've seen perform at multiple Pennsics place themselves in it. Not only was this dishonest, it was very unfair to the people who belonged in that category. Soapbox off!
I was very happy to see so many dancers in ethnic and/or period dance garb...it seemed to me that there was a lot less cabaret dance to be seen this year (or maybe I just hit all the right dance parties!)
Speaking of dance parties.--3 cheers to Bhakail for hosting one of the nicest, most hospitable dance parties it has ever been my pleasure to attend. Rugs on the dance are! A "hospitality tent" with food and drink! People making sure you wanted for nothing! I was very impressed.
Looking back over the last V&D, I see your travel plans...I like the idea of sharing travel plans. It's nice to know where you can expect to encounter other dancers, drummers, or people with middle eastern personae. (This is. I think, especially true for those of us with full-time middle eastern personas--it is nice to see other true believers amidst the vast sea of infidels ;)
Mashalla
The taqsim (improvised musical solo) is a concentrated moment in time--it has its own beginning, middle and end--your dance should reflect this contracting/expanding form.
"Forget" the audience for this moment; intensely feel the patterns of energy in the music--it is actually reaching your body via waves and vibrations--pull the energy into your body and release it through movement. This introspective approach doesn't necessarily mean slow; I've heard Greek taqasim go by at 90 miles an hour! If there is no rhythm accompaniment, either match or counterpoint the speed of the melody.
I suggest studying Ted Swan's book Every Little Movement on Francois Delsarte's theory of using body stance and movement to express emotion. Just as a frown can make us feel mad, and a smile can make us feel glad, your body expression can generate within you and your audience the emotional drama so inherent in taqasim.
I stress again that patterns in the music are what you're listening for--patterns and shapes that can be translated into dance.
I am currently making preparations to form my own troupe. As it stands, Desert Wind seems to be the most accepted mane. We are just beginning and hope to be ready for shows soon.
I'm sorry to be missing Pennsic this year. Your camp was a wonderful change from the hard pressing camps of years past for me. My thanks for providing such a warm and caring place. I hope to see you in the future at events.
Vivian is still drumming faithfully and plays regularly for my classes. She's getting very good. Vivian is playing a live drum solo for one of my student for a show on August 21 in Richmond. I'm very proud of her.
Anyway, so much for my ramblings. I hope your Pennsic is happy and fun. I have asked Bethany of Bedford (Helen McQuintan) to seek you out. She is one of my dance students now and I told her you were the man to find for some great dance parties and drumming! I miss the music already. Thanks again --
The first of the two instructors we were to work with that day was Dalia. She is slender with dark hair and a strong physique. After vigorous warm-ups, she spent time explaining the count of the 6/8 Kashlimah rhythm we would be working with during her session. Dalia demonstrated several ways to count the rhythm and played it for us until everyone understood and could count it. (Ed Note: Please share this with us!!!)
Dalia then began to show us simple steps and variations on them. The style she was teaching was Gypsy with influences of Flamenco, Turkish, Moroccan, and Greek. She was thorough in her presentation and began to add difficulty to the pattern and moves as we went along.
Toward the end of our session with Dalia, she showed us some Turkish hand gestures and added them to the pattern she had created as we danced. By the time we broke for lunch we were exhausted, sweaty and content we had worked hard and had learned some very special dance techniques.
After our brief lunch break, we began our class with Yousiri Sharif, from Egypt. One simply cannot say how wonderful this man is to study with. He has endless energy and patience, a good sense of humor, and charisma that leaves every woman wanting more.
Yousiri, unlike Dalia, taught us an Egyptian dance choreography. He began with some warm-ups then dove into the choreography, but not until he answered some questions from the students. We had a marvelous time trying to follow his steps. He is so full of energy and you can tell that he lives for the dance. Soon after we had learned the first few sets of movements, Yousiri split our class into two groups and had us stand on the stage one group at a time to watch the other students dance. After this he would show us more of the dance until we had learned it all. Then he would go over it with us to smooth out the movements and answer any questions we had. We danced until we were ready to drop and then danced it one more time.
We had the opportunity to purchase tapes of the music Yousiri used in his class from one of the merchants and took notes on the choreography during breaks and after class. Dalia was selling copies of the music she used for her class with contains some beautiful examples of Kashlimah.
Our overall experience in Fall River was a success. We left that afternoon, exhausted, but content that we had grown as dancers. We had learned Gypsy (Turkish) dance technique from Dalia and a new Egyptian choreography from Yousiri. We took all that we had learned back to our dance troupe, since they couldn't attend with us.
The albums 50 Gates of Wisdom and Yemenite Songs are the same. I don't know why, but I do know that the liner notes on 50 Gates of Wisdom are more complete than those of Yemenite Songs. The music on both albums is folk in style and some songs have religious meaning. The origins of each piece is discussed along with the style of the music. The complete lyrics are provided on 50 Gates of Wisdom, whereas Yemenite Songs only provides the partial lyrics. Although she sings in three languages on the albums; Arabic, Aramaic, and Hebrew, the translations into English are in the liner notes.
The Desert Wind album, however, is sung in a combination of English and other languages and is much more modern in style. It's easier to sing along with her on this album. She provides good liner notes, with the full lyrics and explanations of the song origins an meanings. Some of these songs are Ofra Originals. Although the style of this modern, it still has some very ethnic sounds. The piece "Da'asa" is very folksy and sound mystical. She even has a song called "In the Middle East" about relations between the Middle Eastern countries. For those who like more modern music, this one's for you.
I have choreographed a dance to one of Ofra's songs and have danced to another as part of my dance troupe. Check out Ofra Hazra for a fresh look at ethnic music which can be made a part of your music library and/or a part of your dance repertoire.
How did the daylight dancing go? I got to meet Avril briefly and she said there was one (or two?) sessions held at the Orluk Oasis. Were they publicized and attended? What kind of feedback did you hear about it?
Perhaps because I got there late and so missed a lot, I seemed to see fewer "belly bunnies", and more serious dancers. Or could it be that after 3 years in the SCA, the shock of the bump and grind dancers has worn off. Hopefully people are starting to see enough serious dancers to realize there is a difference.
I think I also owe you a thank-you. Several weeks ago I got a phone call from a young lady in State College. She was asking if I'd be interested in coming up there on a periodic basis to teach dance classes. Since you are the only person I know in that area, I'm assuming you gave her my name and number. Thank you! I appreciate the endorsement! I told her I am definitely interested. Now its just a matter of scheduling.
I was wondering if I might ask something of you? As we've discussed this before, I've never had the opportunity to dance to live music--only to tapes and albums. Consequently, on the rare occasions when I'm faced with live music, its an uncomfortable experience. I realize part of that is also my own reluctance/ inability to "just let go and dance for fun"--without feeling like everything must be a completely choreographed stage presentation.
When you were drumming on Sunday at the St. Swithin's Bog demo, I had my first taste of really being able to just play around and have fun. I was really put to the test (and majorly stressed) at Pennsic, however, in the dance contest. Whatever relaxation I'd enjoyed at the shire demo completely disappeared and the pre-show butterflies manifested themselves in quantities never known before. Needless to say, that becomes very apparent in the dancing then. Anyway, what I'd like to ask is if there is any way I could either get a copy of a tape of your drumming, or even make arrangements to get together for live drumming sessions? I'll be honest and say that I'm not really overly interested in learning to drum. However, between the desire to dance well and what I picked up in Leone's class at Pennsic, I do really need to learn more of the rhythms-- and train my ear to be able to distinguish them, so my body can respond to the changes when dancing. I don't know if you still teach drumming class in the State College on Sunday afternoons. If so, perhaps I could either tape some of these sessions, or if the students wouldn't mind, when they're practicing the drumming I could practice dancing.
Please let me know if you would be receptive to such an arrangement. Perhaps you have some other suggestions that would work equally well.
I've tried playing around to drum solo tapes by Raja Zahr and by Susa and the Cairo Cats. Unfortunately, for what I want/need to do, their tapes really don't repeat the same patterns for any period of time. I love the rolls, snaps, etc. that they put in to make the drum solos exciting. But this is where I really prefer to have something choreographed so I can best pick up all the neat accents. What I'd like to accomplish by working with you is to be better able to dance at SCA events, where the drumming is more rhythmic.
OK, enough explanation! I would like to know what you think and see if something could be worked out.
Working with musicians should be easy, and getting together with them should not be too much of a problem. If you are a dancer or dance instructor and you want to work with live musicians, drop a line here and we'll see if we can't get some folks connected. This is what we're about (the V&D purpose). I'll contact you directly to set up some work sessions, since you're in my area. One of the columns in this newsletter is intended to let folks know when and where you can find other readers. Anytime I go to an event, I'm available for practice sessions with drummers, dancers, or both (I'll do bar mitzvahs in a pinch).
For example: I spent some time with the beginning dancers at the Harem event, not teaching drumming, but explaining how to interact with the music and the drummer. Some of it was "counting" the rhythms, some of it was cues to use with the drummers, and some of it was exposure to "new" rhythms. In turn, they worked on some of the material we covered and then used it later that day in their dancing.
Since dancers know counting, a drummer should be able to explain specific rhythm patterns with the same method. For example: the pulses of Karshilama (a 9/8 rhythm) can be counted as "1 3 5 7 8 9", three quarter notes and three eighth notes, Dum Tek Dum tektektek, or "1-2-3-1231-2-3-123". Any form of this that the dancer understands is the correct form to use. Dancers can teach drummers a particular rhythm that they know and like (if they can count the pattern out).
Since dancers know how to make eye contact, drummers should learn to do this too (without dropping the beat!) so that they can detect when the dancer wants a change of rhythm. We have been working on teaching drummer control for the past year. Dancers have ears, and should listen for the cues as to when drummers are ready to change rhythm. Drummers need to work on smooth transitions from pattern to pattern. Dancers need to learn the names of rhythms to specify them to drummers, and drummers can warn dancers of impending changes by shouting out the name of the rhythm to come.
Now, I have a tape that I made for this purpose two years ago. I'm going to update it and make it available (Atesh will get the first one, as she has been so patiently waiting for me to do this). Send a tape, and I will copy it for you. However, this still puts the dancer at a disadvantage, as the tape is not responsive to what YOU want the dance to do. Look at this as a partial solution. (And I will be making an instructional tape for drummers too. David is supposed to be working on his second tape for drummers now.)
Everyone seems so certain that they know what a "belly bunny" is that no one wants to define it more clearly. Since you must first define a problem before you deal with it, I offer the following: From my experiences with both mundane belly dancing and SCA belly dancing (about 8 years worth), I find that generally those dancers who are offensive are either 1) poorly trained dancers who must resort to cheap tactics since they can't really dance well, 2) lack subtlety (an understatement!), or 3) they really are working at being a bimbo. By the way, it's not absolutely necessary to be a belly dancer to be a bimbo, male or female. Ana all of the above can occur regardless of costume, although scanty costume certainly enhances the effect.
The second half of the problem comes from the audience side of the question. I have met numerous people who think they don't like belly dancing until they actually see it, women who don't like belly dancing until someone explains what it means as an ancient women's art, and folks who are just plain prudish and wouldn't like it on any account because it's sensual and they're not allowed to have those feelings. But on the other side of the coin, I am really not enamored of discussions amongst the belly dance community (SCA and mundane) about "uplifting" belly dancing in to a more pretentious art form, a more "serious" dance, or how much more pure a "goddess" dance in swaddled sheets is over the real belly dance.
Part of the problem here is that belly dance is, in fact, the remnants of an ancient fertility dance. It comes from a time when "fertility" meant the blossoming of the land and more hands to contribute to the group survival. A woman's belly and breasts were sacred symbols. Now we have a culture where every commercial product needs a "sexy" female to help sell it. Sex has been trivialized, which is much worse than just making it taboo.
The women I know who love to dance love it for its own sake, for the way it makes them feel, and for the feelings it enables them to express. These are some of the most interesting, most full of life, most joyous, and gutsy women I have ever met. It's tough to be uninhibited in a culture this negative about women. Sometimes they feel like being more mystical, sometimes more earthy, and sometimes alternating the two. The dance is inherently religious and sensual, sometimes at the same time. No wonder western culture misunderstands it so completely. In summary...SOMETIMES BELLY DANCERS JUST WANT TO HAVE FUN. This is O.K. It's supposed to be. A warning, however: someone in the audience might think you are just being "lewd" or "sexy" and be offended. Should the dancer then worry about this and try to be more "refined"??? (HINT: lighten up, it's good for you.)
The second area where your discussions have been lacking are the comments on "more education". Few have discussed what they might mean by "education". After much pondering of the above problems, I have some suggestions.
Have Fun! (You might as well--there aren't any special rewards for not having any)
First of all, take a breather about 15 minutes before you perform. Make sure your costume is secure; jump around, move in strange ways to make sure nothing falls off, moves in ways it shouldn't, etc. Use safety pins if necessary. This is the first step in being comfortable with yourself and your dance.
Second, calm yourself down. Sit down and breathe; inhale deeply, pause for a moment, and slowly exhale. This will help you calm down your body and mind. Once you feel a bit more relaxed, do some self-affirmations: you're beautiful, your costume is gorgeous, you are a talented dancer, you are calm and confident. Always remember to tell yourself "I am a talented and beautiful dancer; the audience is lucky that I am dancing for them."
Advice for the choreographed dancer: if you are doing a choreographed dance, make sure you know the routine backward and forward. Not just the moves, but how the music commands each move, and how the changes in the music relate to each change of step. This way, you are less likely to forget the dance (if you know why you are doing each move to each part of the music) and it is easier to pick it up later in the routine if you do blank out. If you are dancing to a tape, make sure that the tape ends when the dance does (don't always count on someone shutting off the boom box before the next song starts) and make sure you have multiple copies, in case of disaster!
If you dance ad-lib: spend some time before you perform (not just before, but within an hour or so) going over your dance vocabulary. Remind yourself of what you know (this is very important -- sometimes when I'm ad-libbing I feel like I only know three moves!). Think about the variations on what you know -- vary the basic moves, to make your performance more interesting (Adryana has mentioned wanting to teach a class on this; let me pause top say "Yes, Adryana! Please!"). Think about the different ways you can angle your body, to give each move a different "look" (e.g. do figure eight's on your tip toes; hip circles with your knees bent; ribcage circles while presenting a side-view to the audience). And no matter what you do, remember to act like you meant to do it! Never let your audience see you sweat!
Another bit of advice relates to attitude. It is very important to have a good and distinct attitude when you dance. I've seen excellent dancers made unappealing by their bad attitudes, and beginning dancers made remarkable by their attitude -- be it shy, bold, pert, mischievous, sultry, dramatic, or exuberant. by "copping and attitude" in a positive way, you give yourself a framework in which to dance, and by "acting out" your attitude you can get your mind off of stage fright and self-consciousness. This is difficult to relate in words, but try it yourself -- put on a piece of music, spend a moment fixing an attitude in your mind (my two favorites: a very energetic, fun and almost cute one, and a dramatic, serious, and controlled one), and dance. Let your attitude effect your moves, your facial expression, and how you relate to your audience. Be careful of how you use arrogance in your attitude -- a touch is appropriate in a dancer, but more than that comes across in a negative way.
Above all, have fun and enjoy yourself! You're out there to have fun!
Sadika showed me this wonderful music book that her teacher had put together. It has words, music scoring, and some guitar chording included. From this booklet I was able to learn Bir demet Jasemen with her help at Pennsic this year. I wish I could remember all the words. PLEASE Sadika, at least I would like to acquire this source. Can you give us an address from where we can order the book?
I still haven't gotten around to distilling the tapes from the mini-event in Pittsburgh in April down to one tape. Kathy likes listening to them to hear the voices of her friends. I'd like to take a day soon and do that (it's about four hours of material). I'll send you a copy when I do.
There was one drum vendor there, and most of what he had were the turkish-style tin drums with the sharp edges that make tek's and ka's painful, and ordinary Middle Eastern Manufacturing ceramic drums. A style of drum similar to a bodhran but about the size of a tambourine is very popular here, but I didn't like the sound of them.
On the upside, Kathy found one local troupe (Fat Chance Belly Dance) which concentrates on traditional-style dancing, and an instructor in Walnut Creek who she liked much more than the one in Berkeley.
More news as it happens,
Ruadagan
.c.
As to the practice tape I have been working on (more off than on), it will be done soon. Mind you, it is an amateur work, done in my own living room on my own equipment. It is not great, but it will have one side for dance practice (loooong sets of simple rhythms) and one side for intermediate drumming lessons (more rhythms than other tapes).
However, there is no ban on taping the drumming lessons at Pennsic...
However, I would speak to you of "umma", or the community that we are. The name of umma was historically applied to the community of believers that came together, such as the Muslims, the Nazars, and the Jews of Antioch each were separate ummas. In our own way, we have created an umma within the SCA that provides for us a sense of community, or the belonging thereto.
I have hope that our umma will remain open to growth and acceptance of new blood, that tolerance and patience will be our tools to spread enlightenment to the unlearned, and that unbelievers envy us for our wealth of joy and happyness found in what we do.
Salaam Alikum...
Durr ishJabal min al Machfi Jabal abu Neifa ben Durrah, Sultan of the Orluk Oasis, Master of the Caravan of the Khan
Whew, what a mouthful! As you asked of me when Aziza (Formerly Alina Katherine) called you Wednesday (March 3) I am giving you a report on my Belly Dance Class I held for our Consortium's combined fighter practice (in Meridies). There were about ten people there, three of them men. I taught six basic movements. I had Aziza play three basic rhythms and give the names of them. I showed them my garb and talked about the difference between folk style garb and cabaret. I talked about dance etiquette. I showed them some veil work but cautioned them about campfires. I emphasized that I was by no means a good dancer but that I did it for fun. And I encouraged them to take more lessons from others.
I repeated the class again for three late comers later the same afternoon. I was requested to dance for everyone after feast which I did for a very short while.
It was my pleasure to share the joy of dance with others.
(Ed Note: I like to know when and where folks are sharing like this. If you plan on doing this at events, send some advance notice to V&D so that others can support your efforts, either in person or by sending/loaning materials. If you get special requests as a result of a session, include them in your report, and maybe someone in the readership will respond to fill the need.
Iffa' al-Islam and Neefa bint Durr (and House Black Beast) want to have a wedding celebration, and Blanca wants to have a Bachelorette party this year. I suggest that we set aside Wednesday evening for this celebration (a henna party, a hofla, and whatever else). There will be some refreshments provided by Black Beast, but contributions of additional refreshments will definitely be welcome.
The Baron of Bhakail (Tristan) is making great efforts to provide a perfect Sunday night Hofla at the War this year (he has been conferring with various dancers and myself as to needs and requirements for care and feeding of the entertainers). I will be there!
I have asked Kathira um Rashid to research the customs of wedding celebrations and present them to us at Pennsic so that we can implement as many of these customs into this festive event!
The A&S will not provide a tent for us (last year's tent was a windfall from Barony Bergental and House Runymead), so if I can get the berber finished, we might have that to use. Otherwise, I will bring an old canopy (18 x 18) which we can set up if we scrounge up some wood and ropes.
Atesh has informed the Classes Autocrat of the sessions that she will be teaching, which will include:
Happenings here: Lots of practice, and people are getting dancing garb together. Leone is helping me with a Gawahzee (sp?) coat for Nordskogen 12th Night. We'd hoped to perform, but space is really cramped. *sigh* I suggested performing on the list field during breaks in the fighting, but the schedule for the day is far more cramped than originally planned. (See what happens when the King decides to show up for a challenge tourney...) It will keep till the next event where such entertainment would fit.
I'm seriously thinking about escaping the midwest and coming out to the Hofla; I need to see how feasible plan tickets are. There are some really good people out here for Middle Eastern dance, but there doesn't seem to be the concentration of ideas and fun. Raksat Dounya is such a new group that we haven't really reached much outside of Nordskogen in terms of performances, etc. It would be neat to come learn things to bring back...I'll let you know how things work out.
Open invitation for the distant future: the first joint Warlord Tourney/Warrior's Day (WWI) will be held in Osseo WI on July 8-10. If any would care to road trip and camp, I can offer some crash space in Minneapolis for the nights before and after the event. It would be fun to see some travelers, so if any are inclined to journey's of epic proportions...
Best of luck with everyone's endeavors, and I hope to meet some of you in the future...
Oh...news flash: Leonne Monhafoc received her willow (MK arts award) at this 12th night for her work in Middle Eastern Dance. TRM Jafar and Katherine made a big deal about the fact that her skills were advanced to the point that a Willow was the most appropriate award. She missed court due to a mundane professional performance with an India-style dance company, so she doesn't know yet. She will get her Willow at Baronial Court, and it's still a secret form her until then. I'll let you know when she receives it, so you can spill the beans. I would be rather different if she were to discover her award by reading V&D...)
Thanks a lot; I'm looking forward to hearing the tape and practicing with it. I'll let you know what the crew out here thinks... come to think of it, I'll probably look for a doumbeck and see it I can figure it out myself. (Hazards of being a music major -- I just *have* to learn yet another instrument...)
My new year is starting off filled with music. We are playing for our first troupe at 12th night and 4 professional solo dancers. This is my first time putting a non-stop routine together and I have finally learned my first mini-Taqsim needed to link the fast songs with the slow ones.
For Feb. we are traveling to Estrella and my teacher Mimika (a professional kanunist with 20-plus years experience) will be coming for SAT-MON. She wants to see what I'm doing with all the music she's teaching me. And I thought this would be the best opportunity for the populous to be exposed to some really wonderful live music. I wish you could be there!
March brings Rikassah and Mimika's Near Eastern Ensemble as a spot to play Saturday afternoon. Speaking of live music, at one of the Pennsic dance contests, a dancer asked me to play Aziza! Which I know, but the drummers didn't. Drummers are just as important to getting a piece of music to work as the Instrumentalist/vocalist is. So Dur, if you or any of your students are interested in learning particular pieces of music, send me $2 to cover postage and tape and I'll send you one. Examples of songs include Aziza, Hebbina, Nessam alayna, Saba Samir, ErRey Shel Shoshanim, etc.
I look forward to jamming with you at Pennsic! Inshallah! Sadika
In the name of Allah, the Merciful, the Compassionate! I send greetings.
Recently I have been reading the words of foolish Franks who, knowing as much about truth as the sun has knowledge of the darkness, have complained this way and that and have made many foolish statements. Sad is the envy of the Franks for the life of the believer. For I have heard it from Baghawi of Herat, who had it from his father, who had it from his father before him, who once heard the Prophet say, "Envy devours good deeds, as the fire devours fuel."
Those who understand so little would do good to know the saying, "Those who want fish can achieve much through fish, and those who do not know their heart's desire may first have to hear the story of the wooden horse."
In the days when al-Wathiq was Caliph in Baghdad, the golden towers of the city of Basra stood over a monument to learning and wisdom. Husam al-Din was the unusually enlightened amir of this illustrious city, who encouraged new discoveries and activities among his people.
Husam had two sons, the first named Haytham, was an expert in using strange devices and inventions. The second son, know as Talhah, was a dreamer who seemed interested only in things of little value.
From time to time the amir would circulate the announcement:
`Let all those who have notable devices and useful artifacts present them to the palace for examination, so that they might be properly rewarded.'
Now there were two men of Basra famed for their skills and workmanship. One was an ironsmith while the other was a woodworker. Both were the rival of the other, for each delighted in making strange contraptions. When the amir's announcement reached them they both agreed to compete for the award, so that their skills and merits would finally be decided once and for all, by their amir, and publicly recognized.
Accordingly, both men, after long and solitary reflection, prepared his own masterpiece.
When they were ready, the amir received them in open court.
The smith produced an immense metallic fish that could swim on the water without sails. As the amir watched, the smith's assistants unloaded large quantities of cargo from the belly of the mechanical beast. The amir was so impressed that he honored the smith with a special rank, placing him above all other craftsmen. The amir's son Haytham was placed in charge of building the wondrous fishes and soon their special services became invaluable to the amir and the people of Basra.
In the excitement, the woodcarver's work was all but forgotten. Then, one day, someone mentioned the woodworker. "But what about the contest? Where is the entry of the woodworker? We all know him to be an ingenious man. Perhaps he was come up with something more useful."
The amir agreed and sent for the woodworker. So it was commanded and so it was done, and the woodworker brought his device before the amir, covered under a silk cloth. Removing it the amir saw a fine carved wooden horse, perfect in every detail. The amir pored over the horse and then stepped back.
"A toy," he declared, "I can't make out any use for it at all." The woodworker explained that where the fish needed direction, the horse could read the mind of any man and take him where ever he needs to go.
This angered the amir, who took the woodworker to be a braggart and ordered him tied to a tree in the courtyard until he learned the error of trying to deceive the amir. As they prepared to take the woodworker away, Talhah asked his father for the wondrous carved horse.
"Very well," said his father, "this horse is fit only for a dreamer, such as yourself."
Talhah took the horse back to his room and studied it. He discovered, hidden in the carvings, a small knob. When it was pressed the horse rose up and flew! The rider would then be taken to where ever he needed to go. In this way Talhah flew to places he had never visited before. By this process he came to know a great many things. He tried to tell his brother all the wondrous things he saw, but his brother would not listen. He was too busy with the wondrous fish, for building them was his heart's desire. Talhah wished he knew his heart's desire.
Then one day Talhah sat on the horse and wished to be taken to his heart's desire. A once the horse rose into the air, taking him on a trek that would have take a thousands days and a day in ordinary journey. At the end of the journey Talhah saw a glittering palace and the horse alighted there in one of the gardens of this magnificent place.
In the garden Talhah saw a woman, named Jumanah, bathing in one of the pools. They fell in love at once. "My father, the sultan, will never let us marry." Jumanah explained to Talhah, "for I have been promised in marriage to the son of a great magician from the mountains. My father's will has never been successfully opposed."
Talhah got back upon the horse and commanded it to take him to the sultan's own apartment. The sultan was furious when he heard that another man had seen his daughter and ordered Talhah thrown in prison. Then the sultan sent for the magician's son to come at once to marry his daughter.
But Talhah was clever and while the guards were looking at the wondrous horse, he escaped. Talhah wandered into the wilderness. "I will return to this land," Talhah thought to himself, "and bring an army to reclaim my heart's desire." He had not walked very far when his thirst began to make his eyes see things that were not there. He saw pools and trees, but all he tasted was dust. He seemed to be traveling for an eternity. Suddenly, when he had given up and started again several times, he saw something directly before him. It was a garden, full of delicious fruits, beckoning towards him.
At first he took no notice of them, thinking it only another false vision. But at length he found that he was in such a garden. Taking down one of the fruits, Talhah ate and after he ate, he fell fast asleep. When he awoke he went to a pool to take a drink, but when he looked in the pool his own reflection did not look back. Instead he saw a beast with horns and huge ears. When he looked down at his hands, they were covered in hair. "Now I will never have my heart's desire, for what woman would not be frightened at the sight of me!" He sat down and wept.
At length a dervish wandered by and heard the boy's crying. He explained the magic of the garden and warned him to only eat the fruit that had fallen from the trees, not the fresh fruits on the trees. "After a time," explained the dervish, "you will return to normal and then you should follow your destiny."
Talhah was careful to follow the dervish's instructions and gradually he returned to normal. At about the same time a caravan appeared in the garden. Undoubtedly the cavalcade of some important personage, on a long journey. Talhah watch as the camels approached him and a young man stepped out from a palanquin and said: "I am having some of your fruit because I am desirous of it. Fetch me some of it at once, since I am journeying to retrieve my bride and I am in haste."
Still tired from his ordeal, Talhah did as he was ordered. "This must be the magician's son." Talhah thought to himself. As he collected the fruits that had fallen from the trees, the magician's son grew impatient and took some of the fresh fruit himself. After he ate some of it, he fell fast asleep. When he awoke he looked as Talhah did when he awoke a beast. At first he raved claiming that they had all changed while he remained the same.
In the end his companions imprisoned him and asked Talhah for his help. "We will go and get Jumanah and you will marry her, as she will not marry our master. Then we will take you back to the great magician of the mountains and he will sort this all out." Talhah agreed to accompany the party believing that this was the destiny that the dervish had spoken of.
Dressed as the magician's son, Talhah appeared before the sultan in open court. Jumanah recognized him at once but kept quiet. Secretly she was overjoyed, for she had feared that she would never see Talhah again. But all went as Talhah planned and he married Jumanah and they prepared for the long journey into the mountains. Then Jumanah went to her father and asked for the wooden horse. At first the sultan was angered because the horse was connected to her first suitor. But one of the sultan's councilors convinced him that it was only a toy and not of any importance. At last the sultan agreed and the party left for the mountains.
At about the time that the party reached the enchanted garden, the magician's son regained his reason and escaped. He ranted and raved and blamed Talhah for everything that had happened. Before anyone could react Talhah and Jumanah jumped on the back of the wooden horse and they took off into the air, back to his father's palace.
Once they arrived Talhah revealed the whole story in every detail. Husam was delighted at their safe return and at once ordered the release of the woodworker and had him rewarded. When, in the passing of time, the old amir met with the destroyer of joy and the sunderer of societies, Jumanah and Talhah succeeded him and his brother, Haytham, continued with his heart's desire, the building of the wondrous fishes.
And so it is that those who want fish can achieve much through fish, and those who do not know their heart's desire may first have to hear the story of the wooden horse.
But you must know this, as the faithful are mirrors, one to another.
But enough of such things, as I have for you a question. I have heard of a recent invention that allows for the writing of music upon paper. It is said that a circle, "O," is written for a beat and a dot, ".," for a rest. Thus a musical rhythm can be written as OO.O.O.O.. The circle and the point are said to represent equal lengths of time; but the point can stand for either silence or the prolongation of the preceding sound. It is further said that the length of the beat is naturally determined not only by the distance separating it from the following beat but also by the speed of the movement.
Have you heard of such a notation? Is it practiced in the Maghrib? Perhaps you should instruct your students in this system. For is it not said that one hours teaching is better than a whole night of prayer? Perhaps we shall see you soon, although this year the snows in the mountain passes are deep.
Until our next meeting then, may Allah keep you in the palm of his hand and may your shadow never grow less.
In Baghdad, as elsewhere, anything could serve as a pretext to take a rest from the monotony of daily life, and regular feast days were important. Islam is very broad-minded in this respect, and in addition to their own, the people of Baghdad celebrated feasts inherited from Oriental antiquity, the many Christian holidays, and others that were survivals of practices whose origins were lost in the mists of time. The cosmopolitan Abbasid empire tolerated everything.
Because the Islamic world uses a lunar calendar, the months and their feast days rotate through the seasons. This is quite different from our more familiar Christian holidays, many of which have become linked to earlier seasonal traditions. There were two main Muslim feasts, id al-Fitr (or id al-Saghir), at the end of Ramadan, and id al-Adha (or id al-Kurban) - the feast of sacrifice, or the sheep feast. All Muslims, even the least fervent, observed the daytime fast during Ramadan, allowing no water to pass their lips, no matter how hot the weather might be. The whole population would then joyfully celebrate the end of the fast. The feast was prepared long in advance; children would make collections in the street to but decorations and sweets; food would be prepared and new clothes acquired. On the day itself, in mid-morning, the caliph would lead officials, escorted by armed troops, in procession to the mosque, where he would put on the Prophet's cloak and lead the prayers. The devotions over, everyone would trade visits and good wishes and embrace their friends and loved ones. They would feast for three days. In the evening, with palaces illuminated and the vessels on the Tigris strung with lights, Baghdad glittered.
Id-al-Adha marks the day on which pilgrims to Mecca, reaching a point that is called Mina, throw pebbles against a rock to drive off the demon and then sacrifice a sheep and a camel. At the time of the Abbasids, during the three days of the feast, sheep were slaughtered in the public squares. The caliph would attend sacrifice in one of the palace courtyards and send meat first to the people he wished to honor, distributing the rest to the poor. People would dress in new clothes and give one another presents, but mainly they gorged themselves on meat.
Additionally, Shiites celebrated the birthdays of Fatima and Ali, and some Sunnis honored the Prophet's birthday (to the intense disapproval of zealots who regarded it as an affront to the purity of Islam).
Marriages and births in the imperial family were observed by everybody: Christians and Muslims would decorate and illumine their houses, the caliph would scatter money and poets would compose verses for the occasion. Other occasions for festivities included the circumcision of princes, the accession of a new caliph, the naming of an heir to the throne, or the caliph's return to Baghdad after a victory over the infidel or some group of hostile Muslims. The announcement that one of the caliph's sons could read the Koran fluently, an attainment known as the tahdir, would also be greeted with a celebration.
Of the feasts imported from foreign calendars, the one most celebrated in Baghdad (many of whose inhabitants were of Persian origin) was Narouz, heralding the arrival of spring. It was originally introduced by the troops who carried the Abbasids to power. The day began early, with people going to the nearest well or canal and sprinkling water over themselves. Women would make special cakes based on rosewater, almonds, and sugar, and the poets would versify. Presents would be exchanged, and a register was kept of the masses of gifts sent by the caliph to all classes of society. The palaces of the caliph, princes and dignitaries would be alight for six days with lamps burning scented oils and costly ingredients; the air would be thick with incense.
Other Persian feasts were Mihraj, marking the onset of winter (on this occasion drums would be beaten), and Sadar, for which houses were fumigated, and people would drink wine, sing and dance around bonfires.
Baghdad Muslims celebrated Christian feasts with equal enthusiasm, not even bothering to discover their significance; the rejoicing of their Christian neighbors was perceived as another opportunity to have a good time. The environs of Baghdad were crowded with Nestorian and Monophysite convents (both considered to be heretical sects by the Western church), and their patron saints' days occasioned all sorts of ceremonies and celebrations. Anyone could join in, and some of the large monasteries, with their many gardens, drew big crowds. Good wine was available. "On a rainy day, what a pleasure it is to drink wine with a priest," wrote one appreciative chronicler. The convents of Baghdad were also reputed for their games, notably backgammon.
On Easter Day a procession of Muslims and Christians together would wind its way to the Samalu monastery, a magnificent edifice in the middle of a large park. Shabushti recounts that he feasted there "until I mistook the earth for a boat and the walls danced about me." On the last Saturday in September people went to the monastery of the Renards, also surrounded by gardens, and on October 3, the feast was at the Ashmana monastery. People went there by boat "with wineskins and girl singers" to spend three days in tents "with wine and pretty faces". On the first Sunday of Lent the Muslims would join the Christians at the monastery of Ukbara - a village known for its excellent wine - where men and women together would "drink, dance and amuse themselves". On the fourth Sunday, several more days of feasting would begin, this time at Durmalis. On Palm Sunday, young slaves carrying palms and olive branches would walk in procession through the caliph's palace. The feast of St. Barbara on December 4 and Christmas three weeks later were naturally also occasions of great celebrations.
Sources:
Ibrahim was born during the summer of 779 in the palace of al-Rusafa in Baghdad. His father, the Caliph al-Mahdi, died in a hunting accident when he was only six years old. The young prince received the customary education from court tutors under the watchful eye of his mother Shikla, the beautiful and gifted concubine of al-Mahdi, and after his father's death under the supervision of his half brother Harun, who became Caliph in 786.
Harun's court was renowned for its extravagance and cultural brilliance. By temperament an artist, Ibrahim excelled in music and poetry. Maintaining cordial relations with all factions at the court, he nevertheless kept aloof from political intrigue. Although appointed by Harun to be governor of Damascus for two brief periods, his experience there ill equipped him for the turmoil which engulfed the Abbasid realm after Harun's death. Civil war erupted between Harun's designated joint successors, his sons Amin and Ma'mun.. When Amin was killed, Ibrahim was elevated to the Caliphate as a figurehead of the anti-Ma'mun faction in Baghdad. For two years he struggled ineffectually to cope with a deteriorating situation against superior forces. Finally, upon Ma'mun's triumphal entry into Baghdad, Ibrahim prudently fled his wrath. He lived in hiding for a number of years, before being captured and imprisoned. In the end Ma'mun forgave his uncle and extended to him the honor of becoming his court companion, or nadim. Ibrahim was able to resume his life among the more familiar and secure circle of poets and singers. He survived into the reign of Ma'mun's successor, al-Mu'tasim, and died at age sixty in 839. The Caliph honored his uncle by reciting the oration at his funeral.
Ibrahim's gourmet tastes appear to have developed while he was still a young man. Harun held his bother in esteem and affection, encouraging his interest in cooking by bestowing on him a gift of rare value. Recalling him from the governorship of Damascus, Harun presented Ibrahim with a slave girl, named Badi'a. This remarkable woman was said to have been the most highly skilled and discerning person in the art of cooking. Her specialties included bawarid (cold) dishes and sweetmeats.
Ibrahim was enchanted. Badi'a remained with him for many years, and there are mentions of her throughout his life. A fruitful relationship developed between the prince and the concubine, the gourmand and the cook, whose collaboration it doubtless was that led to the creation of Ibrahim's cookbook, Kitab al-Tabikh, the first of its kind in Arabic.
It is not known when Ibrahim conceived his cookbook. It undoubtedly reflected the many evenings' entertainment in the palace, in the salons of his friends, or during convivial picnic days. food and drink were no mere adornment of these assemblies at which poetry, music, story telling and debate on literary and political topics were of common and consuming interest. Food itself was a topic of discussion in both a literary and an edible fashion. Ibrahim composed a number of poems on food, such as one on the delights of salt, and certain recipes he even cast in poetic form.
From the surviving fragments of Ibrahim's cookbook, some forty-odd recipes, it is evident that it was intended to be comprehensive in coverage, from a bread-like preparation, to many substantial main dishes, cold plates and sweetmeats. There are three different versions of a dish called zirbaj, a kind of "sweet-sour" meat dish with vinegar and dried fruit or sugar as the main flavor ingredients. Ibrahim's different preparations reveal not only the subtle nuanced variations but also the gastronome's own empirical or innovative approach to cooking. he was also fond of the eggplant or aubergine. Three recipes which highlight it are again quite different from each other, although each is a cold preparation (bawarid). There are two recipes for a dish featuring the turnip, called Shaljamiya, and two for a fried meat dish called al-mutajjian.
Ibrahim's influence and that of his fellow gourmets was to have far reaching effects on Arabic cuisine, and many later cookbooks contained dishes named in his honor. Here is one of Ibrahim's recipe's belonging to a group of dishes called "lover" or "Beloved" (ma'shuqua) referring to the female of the pair. It is a very subtle dish with a wide range of flavors and aromatic nuances.
Thank you for sending me a copy of the Veil and Drum, Durr! It had been much read and is slightly dog-eared even! I've greatly enjoyed this issue, and it just makes me wish I lived closer to you folks than Greenvile, SC, so I can join in on the fun! I just decided, on a whim if you will, to write a letter, telling a little of m'self and this area. After all, this area is not exactly a hub of Middle-Eastern Dance activity, if you know what I mean. And, let's just say that looking as I do has not always helped the situation.
I have been interested in the dance ever since I was a young teen.
(How I got to this point is an interesting story which I'll be happy to share one day. Suffice to say that I've been interested in it ever since I saw my first dance, and that I've been entranced by the beauty of it ever since.) I have met some of the most interesting and exciting people in the world (Knowne or unknown), thanks to the Dance. I has allowed me to explore, in a safe environment, aspects of my personality that most people, male or female, usually buried deep within.
It's been very hard and very fulfilling work, and I've loved almost every minute of it. The only things I haven't loved (aside from the fact that I'm not consistently good enough yet) is the occasional "What is that weird black guy doing!?!?!" that beats your ego down mightily. There are certain gentles who tend to think that any fellow doing something like this must, to be blunt, be a fag. And woman dancers...well, let's just say I've heard comments by some so-called "Lords" that sickened me to no end.
Folks, I encourage you to encourage others, no matter what their skill, and to make sure that others do not discourage them (or try to take advantage of them). I hope that I have reached a point that snide comments will not completely throw me off the track, but others may not have. I also have a certain sympathy with those called "belly bunnies", since I could be considered one m'self fairly easily. I completely endorse Chala's idea for getting behind and guiding belly bunnies, rather than telling them to get outta the way. You never know what talent you may be discouraging just because they are too new to know the right way to go about dancing.
Also, I think that there is a definitely a point to using more subtlety in the dance. Yes, there are a lot of people who will miss the point, but there are a lot of people who will miss a lot of things. This is not to say dancers must not do things more "mainstream" or cabaret style, but to say that balances must be struck. To a certain extent, it will always depend on the dancer. For example, I always wear long tunics, and never bare my chest. This is partially because I am concerned that people will see me as a "belly bunny", rather than as a serious, if sometimes clumsy student of Middle Eastern Dance. It's also because I think I have the chest development of a 6-year old, but that's another story altogether.
While there is, in my opinion, nothing wrong with dressing suggestively (yes, I know I'm a man and that of course I'd say that. It's still true, though), it seems to me to be far more important to be able to carry yourself in a way that compliments that, or any other, mode of dressing. This is the essence of subtlety because it comes from inside your inner being, rather than from without, and that makes it far more powerful. For instance, one dancer I know of wears perfectly acceptable Middle-Eastern garb (Ghawazee coats, tunics, abas, etc.), yet she can make my blood boil with just one quick movement, or freeze my heart with a look. That, my friends, is The Dance for me, or a least a part that could get lost in the shuffle to learn the latest cool dance step. And I'm certainly not passing sentence; I'm as guilty of it as anyone else, especially in my newness.
There's nothing wrong with flashy, or swift, or bold, if you pull it off right. It's just that it can be easier to say something with a loud hip movement than with a quiet hand gesture. Again, that balance must be sought, and it must depend on what that person likes and feels good doing. I know that right now, I'm just trying to get used to dancing in front of people. It's just a little something I noticed, and I though Chala made some good points.
What else? Ah, these is a small, but growing segment of dancers here in Upper South Carolina. However, we are still few in number, and spread very thin. I've been trying to start a dance practice here, but have ran into a number of problems, mostly of a mundane nature. In my canton (Falcon Cree), there are at least 3 persons of differing degrees of skill, including your Most Humble Writer here, and others eager to learn, but I am unfortunately the only person who really has the time, energy, and funds to bring us together.
(Jumps on soapbox) Along those lines, I hearby extend an invite to anyone with the time and funds, to come down to the SC area, whether during an event or not, and practice with us, be it drumming, dancing, or just general merrymaking. (Comes down from soapbox) I know it's nearly impossible for most of you folks, but I would be remiss if I did not at least extend the offer. We'll be happy to put you up, so, as the man says, "Come On Down!"
I also would not mind corresponding with fellow dancers and musicians on just about any topic. I tend to be an voracious reader/writer, and I love to chat on any number of different topics, both silly and serious. And you might even see a real article from me someday in here...(Be afraid. Be very afraid.)
Well, I suppose now that I've made my mark, I should erase it before someone notices. It's slightly intimidating to realize that many people first introduction to me will be through this, one can but hope I made a good first impression, and to apologize for any offense made. You guys are great, keep up the good work, and I hope to someday see you around the fire!
Asim al-Talib (January 14, 1994)
This will also include a fabric raid on the Great Tenne Castle of Bein de la Prasen (Roaring River Mills) for their July sale! So come armed for raiding (please bring patterns for others so that they can plan what they will do with all the loot!
Pleas Call Me to Let me know How Much food to prepare! (there is always too much anyway! (814) 355 8928.
(Maybe even David will be here by then...)
We cordially invite all Dancers, Musicians and Entertainers to perform during the day and evening. If you would like to participate during the day or teach a class, please call the autocrats so we can get an idea of how many dancers/teachers to expect. Drummers and musicians are also most cordially invited. Storytellers would also be most welcome. There will be an Arts Display during the day. The theme is Middle Eastern, but all are welcome to display their talents. There will be Eastern dancing in the evening. Dinner will be early to allow for a grater amount of dancing.
The feast will be of delightful Middle Eastern fare in two courses. Be aware that we are encouraging traditional Middle Eastern seating, so bring your cushions, camel saddles and carpets. Western style eating can be arranged for those who request it. Vegetarians are, as always, most fruitfully provided for. Off board includes beverages and desserts. Food allergies can be accommodated with prior notice. The site is BONE DRY as is required by written laws.
Merchants are most welcome but space is very limited. Please contact the autocrat to arrange for space. Unfortunately purveyors of food and drink cannot be accommodated at this site. Prices are as follows: $13.00 on board, $6.00 off board, $4.00 out board. On board will be limited to 80 and off board will be limited to 16. Make checks payable to "SCA-Inc. Barony of Bhakail". The Reservation Autocrat is Morgan Charbonneau (George Culp, 766 N. Bucknell St. Philadelphia PA 19130 215.232.2170) Please call before 11 PM. Please contact the Cook (Tauna Æswith 100 N. Orange St. Media PA 19063 610.566.8392 BEFORE 10 PM) with any dietary or menu questions.
Directions: From the North: Get to I-95 South. Take the Vine St. Exit and continue to I-76 <Schuylkill Expressway> to Valley Forge. ** Take City Line Ave. Exit. <US1 South> Continue past intersection with PART 3 <West Chester Pike>. At the 5th light, turn right onto Drexel Ave. The intersection is marked by a WAWA and Tori's Meat Market on your left. * Follow Drexel Ave for a short way. The church is on your left. Turn onto Steel Road to get to the parking lot.
From the South: Get to I-95 North. Go to I-76 West. Follow from ** above.
From the West: That the Turnpike to Plymouth Meeting. Look for the junction with 476 South <the Blue Route>. Take 476 to the junction of US1. Take US1 north to Drexel Ave. Turn left onto Drexel Ave. Follow from * above.
First, anyone can dance!!! Don't let physical limitations prevent you from following a dream. I have a few tips for those with back injuries. I have several back injuries and depending on the day and month some part of my back just do not work quite right. But I never let that stop me.
So turn to the audience, make eye contact, and SMILE!!!
Any comments or responses are welcome. Sabirah (Maura Newell) 12114 Grandview Ave. Wheaton MD 29902
The first stage actually occurs before the first hip-drop or shimmy is ever attempted. I call this the enchantment. I happens when someone sees a dancer, is enveloped in the rhythms, costumes, and movements of a dancer and goes home with a desire to do the same thing. At this stage is all seems like a fantasy dream and the student seeks a teacher. The egg is planted when the teach and student meet.
The next stage, I call the Larval stage. This is the stage where the student depends on the teacher to learn the technical aspects of the dance. The student is usually a little unsure of themselves, and strongly needs the reassurance of the teacher to keep them motivated and wanting to learn more. They are beginning to realize that learning the dance requires a lot of control and practice. They are realizing that the dance is more than just wiggling, it is a discipline. This is the point that will determine whether the student goes on to experience the next stages or decides that dancing is just too much work and decides to be an informed observer or maybe try out another part of the dance such as drumming. Teachers are very important at this juncture. They really need to be a pillar of support until the dancer "gets her wings". At this point the dancing is very mechanical and technically oriented. The student is concerned mainly with getting the moves right and how to put them together.
The transformation: At some point after 100,000 or so figure eight's and about 50,000 beautiful arm movements, something happens. You no longer need to think about them. They are part of your body language as much as walking down the street. This is when something beautiful happens. The dancer begins to feel emotions when she dances and become absorbed in the music. Dancing becomes more fun and less of a 20 minute workout. They are hooked and their life will never be the same again. The teacher falls into a more mentor-like position, offering advice and technical direction when needed. The dancer is mastering things like expressing emotion in the dance, signaling musicians, and use of space.
The metamorphosis: Sometimes this stage happens slowly and sometimes it happens suddenly. The dancer may be in the middle of a performance, dancing around a campfire, or practicing at home, but at some time the world goes away and the dancer finds herself in another place, another time. If she was in the grips of stage fright, the audience no longer matters. To a certain point, the dance is performed to a degree for the purpose of pleasing or impressing someone else. At this point in time, the dance changes to an act solely for the dancer. She dances for the joy of dancing and what it gives to her.
Don't get me wrong, the audience still gets their money's worth. In fact, they get more. Now the dancer is not only giving them beautifully executed, technically correct shoulder shimmies, the are getting a glimpse into her heart and soul. You can tell a dancer who has experienced this stage. She is more confident and is not afraid to play with people. If she trips, drops her sword on her foot, or her costume falls off she will probably either laugh at it or make it look like part of the show. She still wants to please an audience, but recognizes the dance as more than just a series of gyrations.
These stages should not be used as a method of judging oneself or others. These stages cannot be forced. They just happen naturally as a dancer grows. They cannot be matched to any certain technical skill level. The dance is a very personal experience for everyone who tries it. As dancers we should be willing to help others reach whatever heights each individual wants to reach. The dance is not only a competition of body motion, it reaches an emotional level no matter what level of skill one is at. Notice, I haven't mentioned "skill" level. That can be covered by so many others who are more skillful than I. I am talking about the way dance helps someone grow as a human being. So why don't you stop reading this article, turn on some music, and enjoy.
The first choreography she taught was a skirt dance with lots of flips and turns. She showed us the styling and techniques which she employed when she choreographed it. This dance was a lot of fun. The choreography was complicated and beautiful and Sahar had us dancing it well in a couple of hours.
The other dance she taught was a drum solo which was even more challenging than the skirt dance. It was dramatic and difficult and we all felt a great sense of accomplishment when we danced it together the last time and remembered it all. This one took a while for everyone to grasp since there were several beginning level dancers there who didn't have the background to easily pick up some of the moves. However, everyone tried their best and we all had a terrific time.
We all worked hard and had a great time. Sahar had the music she used on a tape for us to take home. That is one of the best parts of the seminars because it means you can take home a part of the dancing you learned to work on at home. The show that evening had it's highs and lows but it was a lot of fun. This was, after all, the day before Halloween and they played on that theme all evening.
One of my favorite things about this summer was that I went alone, without other members of the dance troupe I belong to. This meant that I was forced to meet and get to know other dancers instead of just hanging out with my friends. I got to know several people and learned a lot from them. This was a nice feature since most of the people there were local to Hartford, CT area where I live.
All in all the day was a success. I made many new friends and learned some great techniques from a favorite dancer. I strongly recommend that any dancer attempt to go to at least one seminar with a professional dance each year. They really aren't that expensive when you consider the value you are getting. If you are really serious about improving your dance then you will find yourself making the effort to attend as many seminars as you can. Each dancer has so much to offer from their own experience and talent that you really can't lose no matter how you look at it.
Elena is a fabulous dancer who has done it all. She adds elements of jazz, flamenco, middle eastern (various styles), modern, ballet, yoga, etc. into her dance. It is a very eclectic style, but she does it because she can.
Elena started out with a short impromptu choreography which we all followed which was in Oriental in style. Then she moved on to a Spanish style dance which she showed us by leading us through a series of random moves without a choreography. We asked her to show us specific moves and variations on them and she complied graciously. It became a pseudo Master Class in that respect. Everyone had a great time watching, trying, and dancing together. It was a great group of people to be in class with.
The show was wonderful. Everyone did a superb job and had a good time. Our hostess, Ahlam, kept everything under control and running smoothly, as well as putting forth two wonderful performances herself. Of course, Elena was incomparable. She had everyone mesmerized quickly and kept us hanging on to each nuance of movement. She is a slight woman yet commands great presence on the stage. There are many aspects of her dancing which I would like to incorporate into my own.
This seminar was memorable for many reasons. From the class to the performances in the evening we enjoyed ourselves. We renewed friendships and made some new ones. Now we have more ideas and moves to work on and incorporate into our dancing.
Our troupe has been invited to perform in a show for a future seminar and we look forward to that as well.
He'd come to Dragon's Haven, with a small caravanHe found an open table, and at his ease did recline
Who'd paid him well to guide them (hidden map kept close at hand)
And with his day's work over, and he'd sold his last lame beast
He slipped into the Great Hall, where they held the Eastern Feast.
He watched one dark-haired beauty, and the way her hips did swayHe though, "my purse needs filling. Allah's Kindness shows me how!"
When his sharp ears heard a whisper, from the table down the way.
A group of drunken Russians -- at least one a nobleman --
Were plotting her abduction! He could clearly hear their plan!
"That dancer is from my Harem, but I am now grown old,The Russian's mind was groggy, but the bargain was soon made,
And she is far too wild in bed! I'll soon be dead and cold!
And so, I'd best sell her, and the price will be most small,
For few would buy a dancing girl so over-sexed and all!"
He came up to the girl and said, "Oh beam of Allah's Eye!From flattering words of the Russian's love
I am the servant of a Prince...You see him standing nigh?
He says, `You've charmed me utterly! My soul is quite bewitched!'
And he would have you sit by him. (You know, he's very rich!)"
The Russian said, "You have don well! Here is your purse of gold!""Allah makes all things be easy", he thought as he slipped away,
The Arab tucked it in his robes. The rest is quickly told.
He left the happy couple, while things stood the way they seemed,
And, to hold off future troubles, said that his name was "Hakkim".
It wasn't long before the instructor arrived and began to set up for class. Jehan is a small woman with charisma much larger than her frame. She seemed gentle, kind, and friendly form the moment I first saw her in the corner going through her tapes. She smiled at me warmly as she notice me quietly stretching out.
When the room was full and we were about to begin, Katia came out to the front of the room and introduced Jehan. We all applauded, not really knowing what to expect. She came across the room to where Katia was standing and smiled at all of us. She really is a small woman. However, as we started warming up and learning a short choreography, we soon learned that she was not really that small. She has a large amount of talent that she openly shared with everyone.
Jehan began the class with a very full warm-up routine that she created for herself. The first thing we did was just breathe. Jehan told us of the importance of breath in our dance as a way to concentrate our energy. After all, where would we be without breath in our bodies? Jehan then described how she views her body like a temple, no not the old cliché, more along the lines of the place where your energy and spirit reside together. She showed us how she cleanses the body of negative energy and then pulls in positive energy before she starts to dance. Then she explained that she would work us from the head to the feet and then to the arms, or extremities.
Starting with the head and shoulders, we worked into the chest and learned to keep our chest and shoulders in opposition to each other. This gave me a very good feeling of the energy she continually spoke of that is so important. She explained this concept very well throughout the class. Basically, you need to have the opposition in the muscle groups to give you support in your movements. For instance, she talked of pressing the shoulders down while doing chest lifts to give the feeling of the lift more energy. This also helps in maintaining your overall balance throughout the dance.
We worked our way to the hips and did a series of side pushes and worked them into hip circles, first small then large. We did the usual hip lifts and drops and then moved down to the feet. Jehan spoke of something that I can't recall ever hearing about in my years of dance. She spoke of making sure your feet are relaxed to allow your legs and hips to be free. The feet are your support and should be free to move as needed.
Once we were warmed up she began a series of arabesque variations and other movements to get us into the mode she wanted for the short choreography we were going to work on with her. She was always asking if we understood or had any questions on how to do something. She was always personable with us. I felt like my best friend was teaching me.
The choreography was somewhat complicated, but everyone tried their best to at least get the patterns down. Jehan reminded us constantly that we didn't have to get it perfect, just understand what the movements were and try them all. Everyone tried very hard to follow her. She took a while to get the beginning of the choreography to us since she wasn't sure about the timing. I think she was just nervous about trying to teach it. She apparently hadn't taught this one before. However, she did get it right and continued with us. She didn't run through very much of it without music. Se just kept going through it with the music up to a certain point. Once we all grasped the previous section she would show us a little more. She was more than happy to go over different sections or movements with us when we asked. Sometimes she just noticed that we didn't get something and went over it whether we asked about it or not.
Jehan gives great little pep talks about dance. She gave us one at the end of the first day of class. She was very positive about all of us and how hard we tried. Everyone had used up a good deal of energy by the end of the day on Saturday so we all took the break between class and the show to relax and regenerate.
Tony and I were obviously performing that evening in the show. Katia and Phaedra, the women running the seminar, had asked our dance troupe, Desert Moon Dancers, to perform and Tony and I were the evening's representative from the troupe. We had put together a duet with cane and stick from an idea I had and it worked out very well. When it came time to perform, everyone was so positive and supportive o us we could do nothing less that our best and that's just what we did. I had such a good time doing that dance that I wanted to do it again. Tony and I received many wonderful compliments, including inquiries as to whether we were married. I just enjoyed the entire evening so much that it seemed possible to tope the experience until Jehan danced at the end of the show.
As I said earlier, Jehan has a large amount of talent for a small person. She filled the stage, no the room, with her energy when she danced for us. She was elegant, playful, seductive, precise and thoroughly enjoyable to watch. The live band did a great job in following her as a dancer and she did a superb job in following the band, whom she had never worked with before. I was mesmerized by her half the time, not realizing that I was staring at her and not just watching her. Her natural charisma is accentuated when she is performing. I left that evening feeling completely drained of my energy, yet completely happy for having experienced such a wonderful day filled with dance.
Well, after a good night's sleep, Tony and I returned to the dance studio for another afternoon of dance with Jehan. She started with the same warm -up routine as the previous day and then asked us whether we wanted to work on another choreography or try some different veil techniques. we all opted for the technique work. She showed us some great combinations with and without the veil and explained how each was done before with tried them. Then she would correct us and let us try them again. This was great fun and we all got a tremendous amount out of it. Jehan was always very supportive of us and made positive comments as well as an occasional corrective one.
The weekend, altogether, is one I will remember for a long time. I have already begun to compile notes on the moves Jehan showed us and the warm-up routine she shared. I will be sharing all of this with our troupe with Tony's help so that everyone who couldn't attend can get some benefit from it as well.
Once again, I will expound on the benefits of attending professional seminars in order to supplement your dance knowledge with another perspective. Not only do you get the opportunity to learn from another teacher, but you get to meet some great people who are also dedicated and interested in learning more about the dance. Look for information on seminars in your area or check with your teacher. They are worth every dime and every minute you will spend.
The Primer contains seven arrangements for voice and instruments that can be played on instruments that have no quarter-tones (guitar, flute, recorder, etc.) This means that you can take it to events and interest some of the Northern European musicians to play for dancing. It also includes a pronunciation guide for those who wish to sing the words (albeit, with an atrocious accent, according to my Turkish friends). The songs included are, Ayazein, Zeina, Bir Demet Yasemen (Durr's Favorite), Yesilim, Rampi, Norits Karon Yegav (Sadika's Favorite), and Çapkin Çapkin.
All songs include translations and brief historical notes for reference. (Blanca and Atesh giggled themselves silly when they read the translation for Rampi!)Copies may be purchased directly from the author for $18 (call for quantity pricing) at:
Mimi Spencer
On the heels of Sultan Dur's review of Hourani's History of the Arab Peoples do I present this list of books to read (in our copious spare time). Those of you who have a copy of my Reading List will recognize many of the titles here. But look sharp, there are a few new ones to rush out and look for.
Sultan Durr, may Allah shower him with blessings, made the complaint in his review that there wasn't enough about every day life and customs in period. Rest at ease, oh mighty Sultan, for these books cover many of the every day activities for the every day Arab (or one living in Arabia).
Brian prepared his wonderful lamb in yogurt and cous cous to which we added humis, kibbee, malfuf salat, curried yogurt, piaz, spinach and lentil soup, kibbee neyah, falafel, kubz, baklava, sekanjabin, and other things to sample. Kamile helped me get the timing right on the songs I tried to sing, and the Bhakail Dumbek Tabernakal Choir and I tried out several new rhythms. To end it all, Tahira danced a Ghadwazi piece and we all joined in (I must look really silly out there, based on the look I got from Chengir!)
We've got to do this again next year (Less Snow!)
During the day, I worked with some old friends (Dorian Longwind of Numes) to introduce them to "new music" from Mimi Spencer's Primer. In doing so, I hape to have sown more seeds for musicians of ME music in other lands (unfortuantely, Dorian is heading to Caid). On Sunday, Blanca and Atesh worked with me on getting the timing right on Bir Demet Yesimen (I still had more to learn...)
In comparing notes, Blanca and I are contemporaries, being that we both started taking this art serious about five years ago. Even to the point that this newsletter got it's start right after we both started teaching (what little I knew) at Pennsic four years ago. Since then, we have both dedicated a significant effort to moving forward within the scope of the art.
(Since Blanca and I have only seen eachother infrequently for the past several years, each time we meet I marvel at how much she has improved since the last time!)
I hope that the students that we teach do not despair early, but remember that the price of improvment and perfection is self-discipline and practice (now, if I would only take my own advice...)
This work is dedicated to those who have perspired (for the cause) and inspired:
(In no particular order)
The Troupe of Tear's Sea Shore
Blanca (who started the newsletter with a note)
Knotte
Atesh Hanim
Soohra
Chengir Abu ben Said
Kathira um Rashid
Kamilah ben Durrah min al-Sudan
Alethea bint Fahd ibin Acktar
Mimika
Farasha
Rhianna Whirlwind
The Great Dark Horde
Morgan the Tanner/Tabir al-Kabul
Celeste Aylene
Hathewisse atte Mere
My mom
Giséle
Tauna
Azizah bint Hannah ben Durrah
Hannah um Jasminah
Sebeac(ah)
Donnalean
Hengist
Kiera Lawan
Meagan
Neefa bint Durr
Sabirah bint Durr
Shandra ben Durrah
Fadiliah ben Durrah
Leonne Monhafoc
Dinsdale
Arden
Ulric (without whom I would not drum)
David (without whom I would have no rhythm)
Shoshona
Sausan (Grape Leaf)
Susan (without whom I would have no drum)
Sadika al Masriyyah
Peregren the Lost
Suaad
Linnet
Margrethe
Gwenhwyvar
Zimra al-Ghaziayah
Rayah Blackstar
Madaline
Diana of Greenwood
Cala Savatthini
Rashida al-Alumuti bint Nasir
The newsletter is a forum for revelation and discussion of various topics, and the editorial licence is constrained to limited corrections (spelling and grammar, when I have the time and inclination) and the selection of topics of interest. Since it is all interesting, almost anything gets published.
About the Editor/Publisher/Cook/etc.
My name is Durr ishJabal min al-Maqfi Jabal (Pearl of the Mountain, from the Hidden Mountain) Bey al-Farangi, also known as Baron Dur of Hidden Mountain to the Franks. I am a Musti-arab who left my home in Cordoba in 1189 to travel to Basra on family business (her family didn't like me). I now live in the city of Acre as an itinerant translator of the lingua-franca and am studying to be a musician.
I've been seriously persuing this interest since 1991 CE. Before that, it was something else. Ulric introduced me to drumming in 1988, and Margrethe infected me with her enthusiasm in 1989 that drove me to study with David in that same year. The following year (1990), I served my apprentiship in teaching beginning drummers and playing for Blanca's dance class. Out of Blanca's thank-you note to me after that war, the Veil and Drum newsletter was spawned. I founded the Orluk Oasis camp the following year (1991) to provide an atmosphere where like-minded folks could interact on a more prolonged basis.
In the years that have followed, I have had the good fortune to meet others who have provided further knowledge and inspiration to continue with my own growth in this area of interest, as well as share themselves through this simple newsletter. To them I am indebted, however that I enjoy repaying that debt as often as I may! It makes me happy...
"There is no dancing without rhythm, and Durr is The Stupid Drummer!"Salaam
