Mandil wa Tabl
(Veil and Drum)
Volume #4
This is a simple newsletter to serve the dancers and musicians of the Middle-Eastern persuasion in the SCA, as well as those who's interest includes Middle-Eastern Culture. At this time, this letter is to provide a forum for information related to what we mutually enjoy, and a means for communicating plans and ideas for future efforts. What it becomes is up to each of us. V&D is published on a quarterly schedule.
If you wish to contribute material to this venture, I'm producing this newsletter on a Macintosh, and can accept materials generated on the same type of computer, or text and TIFF graphics from PC-type computers. If you send me other materials, I will do my best to get them into the newsletter at the earliest point.
STANDARD DISCLAIMER:
This is not a publication of the Society for Creative Anachronism or of any group thereof. Do not bend, fold, spindle or mutilate, or it shall be done to you as well. Post no bills.
Tantum agendum, parvulus tempus
Send all materials to:
Durr ish Jabal
165 Fishburn Hill Road
Bellefonte PA 16823.
The Fine Print...
All copyrights revert to authors; all other copyright property of Dur T. Nasty Publications (Dale Walter). Duplication permitted for distribution at cost. Opinions may not represent those of the management. Factual content unverified. Some settling may occur.
Typesetting by Dur T. Nasty Publications, using Microsoft Word. Reproduction by Express-Tech (1-800-359-2097)
Ciannit progressed so very well in the art that by the end of the war she was at the head of this year's class. We give to her the name Fadilah (Virtue) to use if she chooses.
Chengir reminded me of the Hadda of Abu Bakr...The Prophet, peace and blessings be upon him, said unto his Companion Abu Bakr that, `it is far better to spend one hour teaching than an entire night in prayer!'
Dance Bigots and Drum Egos - Editorial
Late one evening at Pennsic a person attired in a Ghadwazi coat said that `only the good dancers came from' (her kingdom). I really hated to hear that, considering that I am not a fit judge to make such an evaluation. I did invite her to come and meet some of the local folks (in Orluk Oasis) with the intent to present contrary evidence and then let her change her opinion of her own accord.
Another complaint that I kept hearing was `Drummers with Egos' and troubles associated with `taking charge' or leading the drumming groups at different gatherings. I have a particularly strong negative opinion on this issue as I am guilty of taking charge far too often. This is even worse when some conjecture that there is a battle for control going on (like the one between Josh and me that I heard about, which was without foundation).
In both cases (as well as those other issues, like knowledge, craft, and skills that we share with others), any one-upmanship activity cuts both ways. It harms those afflicted with the attitude (`so, who died and made you the expert?') as well as those inflicted with the attitude (`you're doing it wrong...we do it better than you'). You may win the argument (`yes, you are better than me'), but you stand to lose friends in the end; a stand-alone expert can be very bored and lonely.
(Funny, this sounds too much like the discussion about belly-bunnies we had two years ago. Rather than repeat it again, I'd like to move forward with this.)
Even if you are the best at something, bragging about it will only annoy others. This also goes for hogging the show, which is just another form of bragging. Enjoy your talents, hone your skills, and encourage others in their growth. The rest of us will invoke your name in praise if it is honestly deserved.
Salaam
Sadika's Tunes, (Book Review)
by Mimi Spencer (Submitted by Durr)
I first saw this book at Pennsic this year. Mimi surprised Sadika (and me) by responding to our pleas for more material. After Sadika and I shamelessly plugged the book a few times, all the available copies sold out and even the second shipment was gone within a short while.
Like the Primer, Sadika's Tunes contains several arrangements for voice and instruments that can be played on instruments that have no quarter-tones (guitar, flute, recorder, etc.) as well as several more tunes that include quarter tones. (For the musically unschooled, a semi (half) tone is like the `black key' to `white key' steps on the piano. Quarter tones are halfway between those two tones).
The songs included are, Al-`Ataba Ghazzaz, `Aziza, Erev Shel Shoshanim (I wish the words had been included with this one), Garoon Garoon, La Rosa Enflorece, Nassam `Alayna al-Hawa, Baladi Ya Baladi (I like this one),El Henna, Hani, Hijaz Finale, Mavi Mavi, Saba Samir, and Ya Bahiyya. I still strongly recommend getting the Primer, as Tunes is a supplementary issue with more songs but without the technical information contained in the first book.
Both books may be purchased directly from the author for $14 (call for quantity pricing) at:
Mimi Spencer
60 Pastori Ave #37
Fairfax CA 94930
(Mimi plays the qanun and publishes The Near Eastern Music Calendar, which lists music events in the SF CA area.
I'm tentatively scheduling the next Hofla for 28 January (to coincide with the half-off fabric sale at Roaring River Mills). Let's hope for good weather again!
This Pennsic was full of efforts to further extend the enlightenment of a civilized culture. Besides al-Mulin (The School), many individual and joint ventures did much to enhance and promote the expansion of our area of interests. The Hofla's of Bhakail and House de Tyre, the circulation of the various artists and performers, the sharing of knowledge all came together to spark further growth. To honor those whose work came to my attention during this war (and please forgive me if I have missed others, but all-seeing I am not) the following lists are given.
Teachers who appeared at the Orluk Oasis:
Mistress Tahjah, who taught multiple dance classes on varied topics (including African dance).
Mistress Aletha, who jumped into the breach and taught various levels of dance in the time slots left.
Atesh Hanaum, who conducted symposia and discussions on instruction methods and motivations.
Leonne, who taught many beginning classes in the late afternoon (after merchanting earlier in the day.
Blanca, who (did not wallop anyone with her skirt, and) taught classes in Spanish and Gypsy dance.
Kathira um Rashid, who gave us lessons on life in Islam (including sex) and men's garb.
Chengir abu ben Said, who participated in and entertained so many of the classes as well as his enlightening discussions for those who thirsted by his well. His gift of the sobriquet for the brave Mustafa al-Wali is one of the more satisfying memories of Pennsic this year.
Sadika, who shared her musical knowledge and skill with so many eager folks. I promise to work hard this next year and do better, really!
Me (with assistance from Aziza, Bevin, Mustafa al-Wali, and one Name-I-Forget) who finally found his ear-plugs on the last day of classes. I really appreciated the help the senior students gave in the classes this year. It gave me a chance to concentrate on some things that needed to be done.
Parties: Some of the parties and the folks (whose names I can remember) that were there...
Sunday - Bhakail - Tabir, Hasan, Ciannit, Aziza, Josh, Sadika, Tahjah, Aletha, Blanca, Dinsdale, Leonne, Kamile, Ciera, Vidal, and a host of others. This was the kick-off party for the War, and the preparations were exceptional. The dance floor was roped off to reduce the crowding (later, when the barrier was removed, some problems did occur). With so many drummers it was hard to keep the beat clean, so next time we will split the musicians into groups and tag-team it. That should clean it up. Sadika performed several pieces that were universally appreciated (even after some technical difficulties with her instrument). Kamile started teaching line dancing at one point. It was impressive to watch! We also confounded Aletha with our traditional (non-four count) rhythms like Zabeck, Laz and Sami. Josh was there, but we couldn't connect.
Monday - Hofla (My Home) - Sadika, Hasan, Aziza, Christian, Leonne, Kamile, Ciannit, Chengir, and other guests wandered in all evening. It was a very pleasant and relaxed affair.
Tuesday - Tour de Force (Drunk and Stumble) - Tabir, Aziza, Christian, Ciannit, Bevin, Ciera, Aletha, Tahjah, Kamile, Neefa, Sabira, Leonne, and about 60 others. Our first stop was Bhakail to thank them for the Sunday Hofla. Then we wandered off to NorthShield (the other camp I had planned for was vacant). After that we entertained the King of Ansteorra (at Beford Camp) followed by the Runtallan camp. After that we went to the Midrealm Royal Camp to entertain the Champions. We tried the Trimaris encampment, but they were quiet. So we finished with the Rising Waters Party (where I met Connor of House White Mists, from Atlantia). Aside from the incident at the last party, things went very well this year.
Wednesday - Wedding Celebration- Neefa and Mahout (Iffa'), Sabira, Shandra, Chengir, Kathira, Christafano, Aziza, Christian, Kamile, Ciera, and the rest of House Black Beast. Chengir conducted the formalization of the marriage in the manner of the Afghan people. Tahjah had taught the wedding dance earlier in the day, which was then performed at the celebration. Neefa and Iffa' had prepared humus, babaganoush, malfuf salat and sekanjabin for the celebration. As it is my custom to prepare far too much food, so did my daughter! I now have a wonderful Fez (I'm so happy!)
Thursday - House de Tyre, Pink Palace, & Trimaris Beer Tree - Aziza, Christian, Vince, Sadika, Aletha, Kamile, Tahjah, Neefa, Sabira and others. House de Tyre was a nice small party that ran opposite the Pink Palace Blowout. Baron Tristan was there and wanted the `hospitality tent' to be called the `Tristan Tent' in honor of his efforts to foster such things. Aletha and Sadika left for the Trimarian party, where Aletha was transported by Sadika's singing and playing (some good drummers were there that knew how to keep the dynamic down). After things died down as de Tyre, Vince and I went to the Pink Palace where things were winding down as well.
Friday - Carillon - Aziza, Christian, Ciannit, Christiphano and Vince. This was a very special evening for me as I had the chance to play with folks that had worked so hard to master the drumming skills. We clicked! It was great to be able to specify a drum set of different rhythms and have smooth transitions and clean sound. I was so very proud! (We saved Balladi and variants for the last set of six)
Saturday - Moritu Open Dance Party - (I didn't make this one) Sadika said that it was too crowded and others said that the drumming was sort of dull. Oh well, I'm sure that it wasn't all that bad folks. (Big parties like that lack focus, and it was move-out night for many folks.) I wandered around (the Durr Tour) and only played a little at Hasan's camp (other camps had other focus). Flaming Gryphon was dead by the time I got there.
At the end of Pennsic this year, I was worn a little thin (from doing several different jobs). As such, I recall making some comments about the possible dissolution of the Oasis next year. At this time, I regret having said anything along this line, for all who stayed there were most welcome guests. I apologize to any that felt different.
The question is: Do we want to do this again? Will we be able to secure the same location? (I might have to move the al-Mulin tent to the other end of the camp space so that it will not conflict with the adjacent camp.) Who will camp with us? Do we want to advertise more classes in the program? Do we need to? What will we offer?
If we do it again (and if I handle the land allocation), we do need to have better layout information for the camp. I didn't have all the information in every case, so some guesswork was necessary. My thanks to Atesh for being amenable to moving her tent, and my thanks to those who helped adjust this part. I was concerned with some of the drop-in campers (as I didn't know who they were, I assumed that they were invited in by others) and some of the friction that occurred because of it. Maybe I shouldn't be the camp-master next year.
We have plenty of time to work on this before next year. Let's start planning now.
At Pennsic XXI I noted a serious degradation in essential hospitality during the Traditional Tuesday Drum and Dance Tour. This can be attributed to two causes: We were unannounced guests, and the hosts were not aware of the basic needs for such entertaining guests. (Even the most essential ingredient of hospitality, water, was not made available). Some camps wisely turned us away as they could not hope to respond in kind.
I took it upon myself to scout out camps for the past two years and advise them that if they wished for us to visit during the tour that they should be ready with at least the most minimal of refreshments. This has been somewhat effective. I have also reduced the overall size of the tour group so that we will not grossly tax our hosts during these forays.
To their credit, some camps like Bhakail, House de Tyre, Carillon, and Eastrealm Royal (under Tsuranaga/Hasan) have gone even further in extending their hospitality and courtesy (Baron Tristan takes his duty as host very seriously) so that we might be inspired to entertain our hosts with our best efforts. One should be careful not to wear out the welcome though. The responsibilities of guests are as vital to the formula as that of the hosts.
In an effort to avert abuse of hosts, consider the following:
[[section]] Take time every hour to thank the host. If they seem to be wearing a bit thin, either offer to help or beg your leave. If they insist that you stay, still remember to thank them and check again after a while.
[[section]] Remember that variety is the spice of parties. Six hours of solid drumming is unreasonable to subject anybody too. Take a break and allow time for others to contribute their skills or entertainment to the party as well.
[[section]] Above all, show respect for hosts camp and other guests. They have shown their respect in the invitation extended to you, so reflect that respect back to them.
Some other ground to cover here relates to problems with groups too large to work together (kind of like some of the armies we see at Pennsic). I'm going to suggest that drummers limit the size of the group to fifteen or less, splitting into teams (for rest and recovery) and then take turns. (Too many drums and the beat gets lost, or you can't hear the musicians play.) The same goes for dancers, as the area can get too crowded.
When the crashers show up (belligerent drunks, Obnoxious Pirates, etc.) it is time to calm things down or help the host by steering these folks in a different direction. Their idea of a `good time' can rapidly degrade to unwanted sexual harassment or other equally ugly situations.
At two different times this Pennsic, I noted or heard of incidents where dancers were harrassed by individuals in the audience. If you are offended by comments or actions (grabbing, touching) of a sexual nature, YOU MUST TELL THEM TO STOP. Then, it becomes a legal issue of sexual harrassment.
When it happens, stop what you are doing, face the offensive person and tell them, `That offends me. Stop it.' If they won't desist, come get me and I will make it very clear that it is unwanted and unacceptable behavior. Then we will thank our host and leave. Word will get around, and the offender will have their own set of problems to deal with (like being refused entrance to parties where we are.)
In the name of Allah, the compassionate, the merciful...
Greetings unto the Faithful from his servant Rashida al-Alamuti bint Nasir!
As I write this, the sun, whom we call The Enemy, beats fiercely upon the land and the unbeliefing Franks who so recently have come to live among us suffer mightily under its unrelenting rays. Yet while they sweat and complain, we delight in the coolness of our gardens and feast upon the fruits of the land and the cool ices brought down from the mountains for the pleasue of our Sultan, as it was ordained by Allah and revealed to the Faithful by Mohammed his prophet, may his name ever be blessed.
In the last installment of Veil & Drum, Sultan Durr, may Allah heap blessings upon him, tantilized us with a few words of Arabic. Since we are supposed to be exchanging knowledge here and I have been blessed with much (it being Allah's will), I would like to share with you my list of Arabic words and phrases and a few customs that you may not know about. I wish I could give you more of an idea of pronunciation, but that was not given to me, and cannot pass it on. (See table)
Rules for eating at a communal table. (Charles Doughty, Travels in Arabia Deserta)
Wash hands. Before eating the host says `Mudd yedak (reach forth thine hand)'. Each person at the table says `Bismillah (in the name of Allah)' and eats (using the right hand only except when absolutely necessary). The eating should take only 8 to 10 minutes, until satisfied. Drink a little water. Rising, everyone says `al-Handulillah (God be praised)' and leave to rinse the mouth and wash hands. Then everyone returns to their places for a cup of kahwa (coffee).
Conduct in Court (a few notes).
In period Islam, it was customary for those called into a royal court to do a full body prostration in the general area of the monarch's feet. In Persia it was also required that the subject kiss the monarch's feet.
In the SCA, these are Islamic personae who do the full-body prostration, but generally it is a matter of personal choice. Master Da'ud ibn Auda our current Laurel King of Arms (may Allah heap blessings upon him) offers this guidline for conduct in court;
`I don't do a full-body prostration because while he may be king, he is also Frank and a barbarian. Were the king a brother muslim, I would have to rethink my postiion...(in court) I usually use a deep knee-bend, bowing from the waist, while touching the heart, lips and forehead with the right hand. In less formal courts, I usually place my right hand over my heart and bow from the waist.'
General notes on conduct.
1) Never place food in your mouth with your left hand.
2) When clapping, strike the palm of the left hand with the fingers of the right.
3) Eating pork of any kind is right out.
4) Drinking wine, and by extension, any alcoholic beverage is forbidden in the Koran (but many muslims in period and since have done it anyway. Baron Salamallah says this it is actually drunkenness that was forbidden in the Koran, not drinking wholesale. More research is being done and I'll update you next time).
Well, having dischaged my duty, I will leave you to ponder and practice. I must publically thank Master Da'ud ibn Auda who responded to my request for help in creating an Islamic persona and graciously gave me the fruits of his research, which I have paraphrased here for you. His assistance was invaluable and continues to be so. May Allah shower him with joy and comfort for the rest of his days. I consider myself blessed to number him among my close friends, even though we have never met in person. Until next time...
Rashida...
Allah gowwik Allah strengthen thee
Allah karim Allah is bountiful
Allahu 'aalim Allah alone knows
Allah ya fukk'ny Allah loose me from thee
minch
al-Hamdu lillahi Unto God be all be all
Rub al-Alamin glory Lord of the Worlds
al-Malik dahir The victorious king
Ana dakhil-ak I am thy suppliant(for
hospitiality)
Ana shebaab min I have now had my fill of
ummry-y life
Bayt shaar The hair-cloth house (tent)
Beled al-Jua Land of hunger
Beled al-Haramieh Land of robbers
Bess Enough!
Bes-salaami Go in peace
Beth-ak By thy leave
Billah By Allah!
Ha wellah By the Lord!
Inhaddem beytich The Lord undo thee
Inna mal 'amal The works are judged
binniyat according to the intention
Isshrub wa erwik Drink and quench thy thirst
Jahil Ignorant
Jirak I am thy neighbor (for
hospitality)
Kalb-hu abiath White is his heart
Karamak Alla Allah requite thee
Kathir Allah Allah multiply thy
forthilakom virtuous bounty
Kathir Allah Allah multiply thy milk
lebanakom
Kathir Allah Allah multply thy cattle
'bilakom
Kathir Allah Allah multiply thy flocks
ghrannabakom
Kathir Allah Allah multiply they many
eyyaloakom children
Kathir Allah Allah multiply they
kilabakom watchhounds
Khalas He is ended (dead)
Kheyr Ullah The Lord's bounty (camel
milk)
Kul wahed aly Everyone in his own
din-hu religion
La haul God forbid (lit; there is
no power)
Shuf Look!
Wa yskut al Khalb And his heart has ceased
to beat
Wen-hu Where is he?
Yallah Come on!
Ya Latif Oh happy sight!
Ya namsur oh victorious one
al-Rabia Spring
al-Gayth Summer
al-Sferry Fall (Autumn)
al-Sh'ta Winter
(More)
Rashida's Reading List by Rashida al-Alamuti bint Nasir
Summer is here at last! Time to put away our woolen garb and bring our our lovely gossamer veils and gauze dresses and skirts. It is also time to spend the hottest parts of the day in reading and expanding our knowledge of Medieval Islam and the roll women played in it. To that end I would like to point you towards several books I've found and recently read that will be of inestimable value to those who have chosen Medieval Islam as their subject to study.
1) Women in Islam From Medieval to Modern Times by Weibke Walther. This is a translation of a German book. The author is a member of the faculty of Oriental Studies at the University of Bamberg Germany. This book is an updated version of the original 1981 translation and has a new introduction by Guity Nashat, author of Women and Revolution in Iran.
This is a wonderful book! Full of important and pertinent information for SCA studies. It shows that women weren't just isolated icons of feminimity, and that not all harems were guarded by eunchs. In Persia, women were trainined as fighters and assigned to guard duty in the harems. There were no men at all allowed in these harems. If you haven't read this book, seek it out and buy it. It's well worth the trouble. (hint: try a Borders book store. I found mine there.)
2) Dreams of Trespass by Fatima Mernissi. The author of this book was born in a Moroccan harem in the 1940s. This book is about growing up in a harem and what her experiences were there. Although this is a modern book, it is possible to get an idea of what period harem life was like.
Here in the West, where women can pretty much do as they please, our notations of living in a harem are that it is a place of terrible isolation and boredom not unlike complete slavery. This book challenges that idea with accounts of the plays put on by women for each other, the story telling and trips to the country where the women had much more freedom of movement and action than in the city. The account of the women washing disshes in the river is particularly entertaining. I also found this one at Borders.
3) Forgotten Queens of Islam by Fatima Mernissi. In the above book, Fatima comments that in the West, little or nothing is known about Islamic queens who are actually well documented in the Islamic world. This book is about those `Forgotten' women, with a healthy dose of Islamic culture thrown in. Definitely a book for dancers and just about any one else reading up on women in the Islamic world.
4) Oriental Magic by Idries Shah. While not a book about women in Islam, it is still interesting reading for anyone interested in Islamic studies. It covers the art and uses of occult type magic in the middle and far east, with the emphasis on the middle, mostly in medieval times. The author talks in depth about books of magic, and the people who wrote them. It can get a bit heavy at times, but on the whole both a facinating and enjoyable tome. Worth looking for.
5) Amulets and Talismans by Sir Wallis Budge. I include ths book because it has an extensive and very detailed chapter on Arabian and Persian amulets which I found fascinating. In the SCA we always need ideas for accessories for our outfits, or ideas for A&S projects. This can go a long way in both areas. It is profusely illustrated and very well documented. As with the above book, it can get a bit tedious to read at times, but it is still worth reading.
Well, that's about all for now. I hope I've been able to help some of you with your research. The books by Fatima Mernissi are very good, and I urge you to buy or borrow both of them. Start with the `harem' book. It is truely wonderful.
If any of you have come across something you think would be useful to others interested in Islamic studies, please let me know. I hope to make this a mini newsletter on the subject. Information should be shared, not hoarded.
Until the next time, May Allah smile upon you in all your endavors, praise be unto him.
This is an experiment in teaching spoken Arabic. The emphasis is on the syllable in ALL CAPS, and doubled vowels are long vowels.
Afwan (AFwan) - your welcome, or, excuse me
Shwaya (shWAYa) - slowly
June 11 - Esmaralda and I attended the Morocco and Tarik Dance Seminar (Clearfield PA) sponsored by Tahira ben Durrah. Turnout for the seminar seemed fairly good with respect to the location, and the show was pretty good as well. Actually, I spent most of the day driving Tarik up from Harrisburg, and then fumbled my way through the show as the MC.
June 18 - I was the only Arab in Sherwood Forest (Fairview Park OH), and I spent time discussing topics of interest with some of the crusaders there. I spent a little time drumming.
June 25 - I spent some time with Chandra of Damascus, Perrigrin, and Mustafa al-Wali at the Highland Ford River Melees (Hagerstown MD). We also taught one of the songs from the Primer to some of the Franks, which they liked a lot.
July 9 - With the help of Hengist (the Saxon) and my houshold, another Hofla and Fabric Raid (Bellefonte PA) was a success (no one was hungry, anyway). Kamilah shared her floor techniques, Chengir spread enlightenment, we drummed, and it was a very relaxing time.
July 16 - Sabira asked me to come and play for the Drummer & Dancer Interaction (Washington DC) workshop taught by Rashida of WAMEDA. This was a new thing for me, playing outside the SCA.
July 23 - Esmeralda and her dance troupe had a real good time at Eastern Europe (Johnstown PA). This gave me the opportunity to support their public demo as well as try out the music I had been learning from the Primer. Esmeralda was honored by her troupe after we had some fun working together on an impromptu drum solo.
August 5 to 21 - See the big Pennsic report! (I finished the War with an injured arm, as it turns out.)
September 3 - Nova the Widow autocrated the Caravan Stop (Suffolk Co. NY) event which included a dance show by Avreal's dance troupe. The feast was very nicely done, and the atmosphere was excellent. Su'ad, Soohra, and Kamilah were also there and we had some fun drumming together. Since they already had someone else scheduled to teach drumming, I gave my bad arm a rest (until later that evening, when Su'ad ASKED me to syncronize the drumming.)
Greetings From Amira of Black Diamond
Thank you so much for the issue of V&D. I most enjoyed the "Evolution of a Dancer". Though I never thought of myself as a dancing bug before, I am only too aware of the metamorphosis stage, in that I first experienced it on stage (very bad timing there) around 1979. I have sought that ever since and found it at Pennsic 4 years ago, on a regular, semi-controlled basis, with the band 'Algiz'. The dancer who is ego-tripping (this too, has its time and place to help overcome self-esteem/confidence problems) can't normally trance. A performance is predominately a moving outward/a radiant energy, wereas trancing is a moving inward thing.
I wish to meet Lady Leah and others who have experienced, or wish to experience this. I will be visiting the Orluk Oasis so perhaps you can facilitate our introduction.
Now a personal request. Reaching ecstacy in the Dance is a main goal in my entire Pennsic trip. It is absolutely IMPOSSIBLE to do this with someone yelling every 30 seconds "Okay, 4 more... 3 more... 2 more !!!!! (This refers to at night around a campfire, not during instruction/class.)
Please devise a hand code to control the unrhythmed drum masses who have started to travel Pennsic in mobs. The orchestra conductor does not have to scream through Mozart. Yes, I know that large numbers of drummers need to be controlled but loud, constant verbal instruction distracts a dancer like someone going to sleep and a door slamming every time they begin to drift asleep. In otherwords, it is also annoying, frustrating, and makes me feel like hurting people with weapons of mass destructions. There! I've said it.
You have made yourself a cultural center for dancers and drummers to join together in pursuit of this ancient art form. If anyone can "FIX" this square-dancing approach to drumming, I believe it would be you. I don't even know if you started this or someone else, and I hope I'm not laying a heavy trip on you (I am more than willing to bear it with you), but this could mean so much to the future of Scadian belly dance.
To tell you a little more about me so pehaps I can be of service to you. I am an 'old-school' dancer from the '70s. I began with books in '73, after wanting to be a dancer since I was 5-ish. Formal classes begain in '74 and my first paid stage performance was Nov. '74. Born in Baltimore was lucky for me as a dancer due to the many Turkish, Arabic and Greek nite-clubs with LIVE-ETHNIC-BANDS! The musicians taught me the dance sequences, the tempo transitions, and sitting on the stage to play zills with the band was respectable then (that like floorwork fell into disrepute shortly afterwards).
In the old days, a band always performed what THEY wanted to, and I figured it out AS I WAS PERFORMING. I was told "look, you take care of your costume, and will will take care of your music", you also didn't anger the band because they would play poorly for you. I was extremely naive and believed all they said (like most of my contemporaties, who also taught me a lot, like a sisterhood that met in the dressing rooms, ---the 'old-timers' teaching the newbies) but I gained a tremendous insight into the music itself BECAUSE I was not taught with words, but on a deper level of sensing when the changes were coming.
You see Arabic music is kind of 'formula music', it follows specific pathways and never deviates. The taxsims are completely up to the particular musician, but he has special 'codes' played right into the music to tell the other musicians when its their turn to play again. I can't teach anyone this, unfortunately, because it is all on theat sub-verbal level of conciousness. After a longish nite-club break to have a baby, I returned to the "D.C." club scene in '87. The Greeks never change their belly-dance music, I think, but the Arabs write new stuff and it was just like being a novice again --- not knowing any of the songs. But, you guessed it. Yes I was right in synch because the underlying themes/modes were still there!
It was hard to erase what 20 years of mundane belly dance has engraved into your soul, so I left it intact and wrote out a personal Scadian belly dance program so I could enjoy both styles, each in its own home. Anything I know I offer you and all other dancers. Some teachers hold back info, afraid their students might surpass them. I offer all comers private counsel and will critique only if approached to do so. But I alsways maintain the right to coach talented dancers with encouragements in order to keep the true beauty of this art alive and growing.
What's happening when....and where to get info (check kingdom news letters for other details)
October 8 - Pilgrimage to Jerusalem (Albany?)
October 15 - Istanbul or Constantinople (Scranton)
October 22 - Arabian Event (Philly PA)
(215) 566 8392
October 29 - Crown Tourney (Hamilton Ont.)
January 28 - Hofla? Anyone? (the local shire may be doing this one.)
A special blessing for Chengir and Kathira for the production of this special issue of the newsletter. Their efforts add refinements to the image and atmosphere we are creating. May their wells be full and flocks prosper! (This is the insert for that issue.)
Updates on Resources and Stuff
Sausan is requesting input and advertising for her next issue of Clyde's guide. If you have something you need to get into the hands of other dancers world-wide, this is a solid vehicle. If you need to advertise your services (dance or teaching), this is also a good source.
Clyde's Guide Resource Directory
By Grapeleaf Productions
The Grapeleaf Restaurant
4031 Balboa St., SF CA 94121-2516
I got this Wonderful Catalog in the mail! Very large selection of instruments, music, and texts.
Lark In The Morning
PO box 1176, Mendocino CA 95460
(707) 964-1979
Carolyn Alimohammadi (Litãni)
Lenny & Nancy Gaines (Lazar & Batsheva)
Shelly Featherstone/Bob Levesque (Rozalynd of Thornaby on Tees, Robere Emilede de Beauvis)
Brock Massel (Knotte)
Tricia Postle (Elsbeth)
Donna L. Profeta (Brynna nic Adam)
As of right now, I have not seen much in the way of events coming up for the next three months. Remember, the Hofla is scheduled for 28 January!
Kamilah has been making an effort to spread the knowledge of line-dances, such as the Miserlou and others. We have floated a Pennsic Plan to attack the Barn one evening with musicians and dancers to provide the Franks with a taste of our culture. This would go something like: wait for their musicians to take a break, start up and play for five minutes, teach a dance, play for another ten minutes, and then leave. This would cause only a mild reaction, but it would leave a nice impression!
(Diane of Greenwood, where are you!)
I have already spoken with the Autocrats for Pennsic 24 and they will provide us with a tent for the school and evening gatherings. This will happen if we convey to them the desire to continue teaching in that same location (I have said that we can start teaching as early as the first Monday, which is what we have done in the past with the drumming).
However, what we need is a liaison to the A&S staff who will coordinate classes in the Mulin and pass that information to the A&S Classes Director. (The Mulin is likely to be used for other things if we don't fill the time slots. It is a matter of move it , or loose it!) Last year, Avril was supposed to be the coordinator/contact for this, and I don't know what happened, if anything. Would somebody please volunteer for this focal effort? Please?
Sadika adds to `Sadika's Tunes'
The words to Erev Shel Shoshanim were written in the 40's I think. Here I need to give credit to Sahar al-Sakim ibn al-Qasar for getting me involved with Middle Eastern music. I was doing vocals for her on some Irish music and she was playing Dumbek for Sunara. Sahar thought it would be great if I sang some of the Middle Eastern songs. `Ycuk!' I said (actually I was shaking in my boots at the complexity of some of the songs). And she brought out this scratchy record with Erev on it. `Oh,' I said, `I think I could sing that.' And the rest is history. By the way, the record is on CD (Salute to Israel, Feejun MCD 617 46).
Erev Shel Shoshanim (`Sadika's Tunes', page 10)
Erev shel shoshánim
Nétseh na el ha-bustan
mor b'sa-min u-le-vona
le ra-ge-lech miftan
ly-ea yo-red le-at
V'ru-ach sho-sha nosh-ua
Hava el chash-lach shir ba-lat
Zemer shel a-ha-va
Sha-char ho-ma yo-na
ro-sech ma-a-leh t'la-lim
Pich el ha-boker sho-sha-na
ek'te-Pe nu-li
An evening (fragant) with roses
Pray let us go out to the fruit garden
Spices and Frankincense
As a threshold for your feet
Night is slowly falling
The fragrance of the rose decends
Come I will wisper to you a song, quietly
A song of love
Morning, the dove is cooing
Your hair is filled with dewdrops
Your mouth (turned) to the morning, (like) a lily
I will pluck it for me.
Special thanks to Chengir abu Ben Said for the special edition of V&D (Mandil wa Tabl) and all others who contributed to this edition.
As of right now, I have not seen much in the way of events coming up for the next three months. Remember, the Hofla is scheduled for 28 January!
I so much enjoy reading all about your ventures, adventures, and exploits. I love to hear about the way things (especially pertaining to belly dance) are done in `other parts of the world'.
Your articles about SCA events are fascinating to me. As you can see, I live in California, and although I've gone to a few SCA events myself (`12th Nite' is my favorite!), I've not run across anything like what you describe.
Perhaps I'll be able to arrange a sojourn to an event of yours one day -- when my economic situation is better.
A little about myself? I have been a dancer for ??? Years, beginning in the late `70s. I've been in troupes, I've taught (and do teach), I've even won awards in competition -- well enough bragging. We all know those things don't necessarily make for an enjoyable dancer.
I am now, and have been for the past 6 years, exploring the ethnic/tribal; side of our art form. Prior to that I've been a `cabaret dancer' well grounded in Arabic, Armenian and Turkish styles.
I am holding auditions this week-end for a new dance troupe devoted to `pure' ethnic dance form all areas of the Middle East. THE DANCERS OF THE CRESCENT MOON will make use of a variety of props (including, but not limited to: sword, cane, veil, pots, baskets, snake, candles, trays and tambourines). We will present dances from Saidi, Morocco, Turkey, Ghawazee, Persian, etc. We aim to educate as well as entertain.
Our costume `trademarks' are our lavish assyuts, colorful headpieces, and facial tattoos. Our dance `trademarks' are our lively 9/8 and a rather elaborate 6/8. We also like to have fun when we perform and enabling our audience to do the same is important to us.
So please continue to let us hear from you and keep up your wonderful encouragement of new talent. I've often bragged that our community holds something for everyone/anyone -- no matter what your size, shape, ability, capability, etc. All that's really needed is an open heart and a good share of enthusiasm.
(A letter from Mimika)
Thanks for the review of Sadika's Tunes. One of my students here, Amy Howenstein, brought it to me at the oud class I teach, saying, `Where's this new book?' -- before I had even received the newsletter.
I would like to comment on Amira of Black Diamond's letter -- which I enjoyed reading -- but I feel there needs to be some clarification about Arabic Music. Arabic music is not all `formula music.' (In fact, most Arabic music is not dance music at all. I doubt that Amira meant to imply this; she is speaking of dance music -- but most people are clueless when is comes to Arabic music and I'd hate for them to get the wrong impression.) The music that many Arab musicians play for belly dancers often does follow a formula, because this saves them the necessity of rehearsals with the dancer. Furthermore, many of the Arab musicians that I know do not even play real raqs sharqi or belly dance music for dancers, because they don't know it. This depends on the musicians, of course.
In traditional Arab music, the singer -- and perforce the song -- is supreme. Instrumental music is secondary and many Arab listeners don't want to hear `mere' instrumental music. In the Middle East, a singer and a dancer don't perform at the same time. They are each considered to be soloists. However, in Arabic nightclubs in the U.S.A this is not the case. If a musician doesn't know any instrumental dance pieces he will sing popular songs as part of the dancer's show.
Typically, dancers in Egypt have their own music that they rehearse with the musicians, and it doesn't necessarily follow a formula. It may be a seamless composition of up to half an hour in length, with numerous changes of rhythm and tempo that may only last a few bars each.
Here on the West Coast the Arab musicians also use formulas, and popular songs for the dancers. The better musicians occasionally play good instrumental pieces for dancers. The formula here usually consists of a fast song, a slow song or wahida wa nuss improvisation, a fast song for perambulating the room in search of tips, a drum solo (which I prefer to think of as a percussion/dance duet) and a finale. Sometimes the middle song is used to line up customers, put silly turbans on their heads and `teach' them to dance. (Yecch.)
As a musician and dancer for twenty-five years, I know it from both sides. As a dancer, I really appreciate being able to have a good dance piece such as `Mazamir,' `Tamer Henna,' or even such old chestnuts as `Aziza' or `Laila' or `Saba Samir' -- anything with breaks! As musician, I have to say that only the better trained dancers know most of these pieces, so I often have to play a generic song with a few breaks to accommodate the others.
As a matter of interest, I was recently asked to play for a local belly dance teacher's `student night' at which she asked me to perform Greek music so that her students could learn to dance to it. (I do sing and play Greek music as well as Arabic, Turkish and Armenian.) I told her that Greek musicians usually use Arabic music (with the quarter tones expunged) for belly dancers! And most of them, as Amira probably knows, use the exact same song for all the fast parts. With 18 dance students performing I couldn't very well do that, so I used a combination of Greek, Armenian and Arabic music for the show.
From Amira's description, the early Baltimore dance/night club scene sounds very similar to the situation in San Francisco in the 70's. Hopefully some day I will be able to meet you East Coasters. Maybe next year I'll make it to Pennsic. The main thing holding me back is my inability to tolerate hot sticky weather.
I think you need more instrumental music -- maybe several groups -- in addition to the drum circles. I hope that you and I and Sadika are doing will help encourage this. Do you think there would be interest in Middle Eastern instrumental music classes (i.e. taught by me)?
Thanks again for your support and everything else.
A Limited Discography from Mimika
Many of these are available form Rashid Sales Co., 191 Atlantic Ave., Brooklyn NY 11201 (212) 852-3295-3298; or from Samiramis Imports, 2998 Mission St. San Francisco CA 94110 (415) 826-3366.
Abboud Abdel Al et Son Violon Magique (Belly Dance), Duniaphon LPD-292, p1977 (Beautiful Stuff)
Belly Dance: The Music of Farid El Atrache, Cariophon LPCXG 124 Stereo, p1972 (Lots of his old classics, some for dance and some not. Includes `Toutah')
Belly Dance: The music of Mohamed Abdel Wahab, Volume 1, Cariophon LPCXG 186 stereo, p1976 (This has an excellent group of some of his best and most famous instrumental gems, including the ubiquitous `Aziza')
Belly Dance! Music for an Oriental Dance, Volume 2, Voice of Lebanon VLMX 32 Stereo, p1973 (Very nice instrumental music, excellent dance pieces)
Belly Dance! Spectacular Rhythms from the Middle East, Parlaphone-Voix de l'Orient Series GVDL 74, 1974 (Has some great taqasim, excellent dance music)
Farid el Atrache, Carophon LPCXG 123 stereo, p1972 (Includes `Ya Gamil ya Gamil')
Farid el Atrache: Nagham Fi Hayati, Voice of Lebanon VLMX 43 (Songs from his last film; includes `Hebbina' and his famous Oud Taqsim)
Mohamad Abdel Wahab, Cairophon LPCXG 111, p1974
A Rahbani Festival: The Instrumental Hits of Fairuz, arr. by Ziad Rahbani, Voix de L'Orient Series GVDL 56, p1973
On the Pilgrimage to Jerusalem (Oct. 8, Albany) we met with a small group of travelers (Dinsdale and many new friends). Even though I invoked the name of Chengir and Kathira countless times, they would not be summoned as the djinn that they appear to be... Therefore, I was left to say many times that the tales which I told so poorly would sound so much better if they were present to correct my memory of the facts... The feast was served of food the Frankish style (all very drab) and of a more cultured and pleasing form in the second course.
The October 15 event of Istanbul or Constantinople (Scranton) was a waste of time, and therefore I'm glad no one else was there.
Arabian Event III (Oct. 22, Philly PA) was an opportunity for us folks (Knott, Arnora, Bryan, Aleesia, Morgan, Tanna, Kamillah, Chengis, and others) to share our accumulations of wealth for the year with others. Farasha was there and was doing some teaching of dance basics, and Kamilah was teaching line dance (which I stumbled through again...I have no skill for this!) The "show" during the feast was interesting, although some parts ran FAARRR to long. With the exception of Kamilah, all the dancers worked set pieces to canned music. We (Knott and I) put together an arrangement for Kamilah of a fast Zabeck followed by `Bir Demet Yesima'. This was the only live music piece for the evening. The food was excellent (and plenty of it).
Crown Tourney (Oct. 29, Hamilton Ont.) was an opportunity to extend our circle of music friends as well as touch base with Arnora and Knott again. Elsbeth and others were introduced to Mimika's books and amazed me with their impromptu performance ability (although it was fun trying to figure why it sounded off key, until they noted that the key signature was in E-flat).
The Sword of Shandra, and other fantastic tales....
(Letter from Shandra)
I found a really neat book of Arab folktales. It is edited and translated by Inea Bushnaq. The tales are divided into 6 groups:
"Tales Told in House Made of Hair" (Bedouin), "Djinn, Ghouls, and Afreets" & "Magical Marriages and Mismatches" (Tales of Magic and the Supernatural), "Beasts that Roam the Earth and Birds that Fly with Wings" (Animal Tales), "Famous Fools and Rascals" (Tales of Djuha and His Kind), "Good Men and Golden Words" (Religious tales and Moral Instructions), and finally "Wily Women and Clever Men" (Tales of Wit and Wisdom).
My favorite section so far is about Djuha. There is a book of Djuha tales which dates to the tenth century, so these are really timeless, enduring stories. Usually, Djuha appears to be a simpleton while actually getting the best of everyone he come across. The same character is called Djawha, Djahan, Giufa' Abu Nuwas, or Si'Djeha, depending on where the story is being told. (ED NOTE: I've heard Kathira and Chengir tell these gems, and I'm glad Shandra sent them in!)
One day Djuha wanted to entertain his friends with a dinner of lamb stewed whole with rice stuffing, but he did not have a cooking pot large enough. So he went to his neighbor and borrowed a huge, heavy cauldron of copper. Promptly next morning, Djuha returned the borrowed pot. "What's this?!" cried the neighbor, pulling a small brass pot from inside the cauldron. "Oh, yes," said Djuha, "congratulations and blessings upon your house! While the cauldron was with me it gave birth to that tiny pot." The neighbor laughed delightedly. "May Allah send blessings your way, too," he told Djuha, and carried the two cooking pots into his house.
A few weeks later Djuha knocked on his neighbor's door again to ask for the loan of the cauldron, and the neighbor hurried to fetch it for him. The next day came and went, and Djuha did not return the pot. Several days passed and the neighbor did not hear from Djuha. At last he went to Djuha's house to ask for his property. "Have you not hear, brother?" said Djuha looking very grave. "The very evening I borrowed it from you, your unfortunate cauldron - God grant you a long life- died!" "What do you mean `died'?" shouted the neighbor. "How can a copper cooking pot die?" "If it can give birth," said Djuha, "it can surely die."
One day Djuha arrived at a banquet in his usual rags, only to be turned away at the door. After changing into his costliest clothes and saddling his mule, he returned to this hosts hose looking like a man of substance. This time the servant welcomed him respectfully and seated him near the guests of honor.
As Djuha reached for a piece of roast meat, his sleeve happened to slip down into the food. "Pull back your sleeve," whispered the man sitting next to him. "No," replied Djuha, "that I shall not do!" Then, addressing his sleeve, he said, "eat, my sleeve, eat and take your fill! You have more right to this feast than I, since they respect you above me in this house."
Djuha and the Basket of Figs (Iraq)
One year when Djuha's pomegranate tree bore very large fruits, he chose the three reddest and most perfect and took them to the palace as a present for the emir. And for this he was generously rewarded. Some months later, when his turnip crop proved unusually fine, he filled a basket with the best of his harvest and set out for the palace again.
On his way he met a neighbor, and when he explained his errand the man said, "Are turnips and gift for a prince? Shame on you! Something dainty or something sweet is what will please an emir. Take him figs." Djuha was persuaded, and when he arrived at the palace gates he had a basket of figs over his arm.
This time, however, the prince happened to be angry, with a frown on him that would frighten a hero. Far from rewarding Djuha for his pains, he ordered his servants to pelt him with his own figs and chase him out. But every time a fig would hit the mark, Djuha would cry out, "May Allah reward you with his blessings, dear neighbor!" The Princes curiosity finally overcame his anger, and he asked Djuha why he was saying such things.
"Sire," replied Djuha, "I was bringing you a basket of the largest turnips you have ever seen, white and sweet as apples, but my neighbor told me figs would be a better gift. Should I not thank the man who has saved my life? Had my basket been full of turnips, every bone in my body would have been broken by now!"
The prince laughed and, regaining his good humor, sent Djuha home with a purse of gold.
Si'Djeha and the Qadi's Coat (Tunisia)
One day Si'Djeha was strolling on the outskirts of town when he came upon the qadi snoring under a tree, working off his latest wine-drinking bout. So deeply sunk in sleep was the judge that Si'Djeha was able to pull his fine new woolen cloak off him without making him stir.
When the qadi woke up and saw that he had been robbed of his costly coat, he sent his men to search for it.
They soon recognized it on Si'Djeha's back and dragged him into court. "How did you come to posses so fine a cloak?" demanded the qadi. "I saw an unbeliever grossly drunk with the stink of wine upon him lying asleep under a tree. So I spit in his infidel beard and took his coat. But if you honor claims this cloak, it is only just that you should have it back." "I have never seen this coat before in my life," hissed the qadi. "Now be off with you, and take the coat along, too."
Abu Nuwas and the Caliph's Queen
Once Abu Nuwas asked Harun al Rasheed for permission to take one donkey from every husband in the kingdom who proved to be afraid of his wife. Some time later the caliph was sitting in a palace window when he saw a cloud of dust on the horizon. Soon he made out Abu Nuwas driving a heard of donkeys toward the cattle market. "What is this, Abu Nuwas?" he asked.
"This is the sad state of your kingdom, sire," said Abu Nuwas. "Did you not give me leave to demand one donkey from every man who fears his wife?"
"By the way, on my journey I saw a girl with cheeks like pomegranates and breasts like marble. I immediately though of you..." "Shhh!" whispered the caliph. "Queen Zubedia is sitting behind that screen - she will hear you!" "Sire," said Abu Nuwas, "from the men of your land I have taken one donkey. For the King the fine is two donkeys - and make them white."
Now, if I can just manage to get the storytelling part down pat, I can participate more! I like this book, and if I can find it for sale, I want to get it. There are many other parables, but I think the wise fool is my favorite group. (Forrest Gump?)
I send warm greetings...
My name is Sadafa Ibna As-Sabiil, or Michelle Wright in the mundane world. I am mostly curious and interested in receiving V&D. The copy I have was given to me by Amy Shuman whom I met at an event here in Drachenwald.
A brief background: I've been officially in the SCA for two years, unofficially for eight, and belly dancing for ten. I have recently decided upon pursuing a Middle Eastern Persona in the SCA. Specifically, a Spanish Moor of Berber descent form the city of Seville in the time frame of 900-950. The decision was a difficult one, it took a great deal of thought and research to finally decide. The deciding factor in the search was an article I read in Jareeda Magazine regarding Moorish romance poetry. The author had also included several very good reference books on Moorish/Islamic art and history and I was able to develop things from there.
I am interested in learning more about Middle Eastern drumming, clothing styles and dance. Would love to learn to read write and speak Arabic if anyone is teaching. I have a passion for Middle Eastern dance costuming, mead making and creating items for household use. Currently I'm wandering through the Kingdom of Drachenwald, picking up all sorts of interesting ideas.
(by Shakti)
Great contributors to music theory and music culture of the Arab world were: Al-Farabi, Al-Ishahani, Ibn-Sina, Al-Urmarwi, and Al-Maraghi. The earliest books on Arabian Music date from the eighth century.
Nagham (maqam, etc.) - a modal structure characterized by an obligatory, fixed organization of the tonal space, and a free rhythmic organization within which the melodic development takes place. The nagham is a modal structure of three main musical cultures: Turkish, Persian, and Arabian.
Taqsim - an instrumentally improvised presentation of the nagham.
Layali - a vocally improvised presentation of the nagham.
Mawwal - a poem on which the singer improvises a melodic line.
Ataba - a folk poem sung to an improvised melodic line; there are definite conditions of rhyme; the lyrics may also be improvised. If a rhythm is used during these improvisations, it would usually be a "wahda," "balady," or "daq wa noos."
In contrast to the basic major and minor scales used in Western music, Arab music contains quarter tones producing more than thirty to forty modes.
Tarab - sensuous and intoxicating feeling given to a listener by the development of the modes and quarter tones.
(She has also provided several sheets of rhythms that I will include.)
(Video Review by Durr)
Ramona put together a drumming basics video. Those who were going to review it and send me their reports never did, and so I reviewed the copy that Ramona sent me.
The video covers the basics of hand positions and dumbek care at an introductory level. Her techniques include finger-snaps, and her Ka's all leave the fingers on the head (a Grab style). Ramona shows two variants on Ayub as well as a variant on Baladi. The Masmoudi (plus variant), Chefftiteli and Karshlama she shows are the same as those on David's World of Dumbek.
The home-grown production is remarkably well done (even with the background noise, you have no problem following Ramona's lead). It is 50 minutes long and moves along fairly smoothly from item to item. It seems that most of the session was done in a single sitting, which is very impressive! She reviews material as the session progresses to reinforce the lesson.
I (as a fellow drummer) do not agree with some of the minor points and techniques that she shows in this video. (Like her development of some of the rhythm patterns, her hand techniques of Dum hand-bounce and Ka Grabs, or that she throws her right shoulder into each Dum.) However, this should be set aside as stylistic differences that do not take away from the intention of the work.
This video is useful in teaching the basics principally because it shows and tells how to do the various techniques (better than just books or tapes). It also includes a sheet of musical notation for the user to follow along with. If you have folks that want to learn to drum, this would be a good basic tape. She has asked me to include the following ordering information.
Basic Doumbek Techniques and Rhythms (VHS Only) (c) 1993, 1994
$25 plus $3 shipping and handling.
R. Klein
3126 The Falls Parkway
Duluth Georgia 30136
(The Durr Tour continues)
Mashalla!
I traveled to the Far West for the holidays this year (instead of going south) and spent many happy days discovering new sources and friends with the help of Sadika. (I spent some of the time as roadey, some as audio engineer, and some as performance-coach.)
Her roommate, Michele, is an accomplished artist in garb design and construction (see much of Sadika's fine garb for example). She cites among her sources texts such as Palestinian Costume by Shielah Wier and Cut my Cote by the Textile Museum. She gave me some ideas for how to convert saris to garb (which will be important to know very soon!) She promised an article or two on the topic for the V&D in the future. (If nothing else, she gave me some notes that I will publish under her name so she gets credit.)
I met Mary-Ellen Donald (Yes, the Mary-Ellen of Doumbek Delight fame!) and Linda Grondahl (the Victor Borga of Belly Dance!) at a reception at her home. Later, they performed with Mimika at Amira. Unless I misunderstood, Mary-Ellen will be (or has already) releasing a new publication.
Sadika and I scheduled sessions with Vince Delgado. Vince showed me the double-left (the same thing Sadika had shown me before) and gave me some techniques to work on till we meet again. Sadika's session with him included two treats for me: he performed the Sami rhythm on the rikk (tambourine). He shared the rikk techniques that I will pass along later to all. We saw Vince later at Amira, where he joined Mimika and Mary-Ellen on the stage.
I first met Mimika at Amira when she was unloading equipment for their (Mary-Ellen and her) show that evening. Sadika and I stopped in at her home (museum!) to visit and discuss the new project, the Near Eastern Music West Inc. a cultural and educational organization dedicated to promoting the music of the Near East and educating the public about it. Activities will include bringing music to the schools and presenting concerts and workshops. (The organ of this foundation is The Near Eastern Music Calendar, published by Mimi Spencer.) NEMW is non-profit, and any donation in excess of $7 includes a subscription to the newsletter. Mimika also gave me copy of her re-released publication, Zils, The Art of Playing Finger Cymbals. I will be reviewing that text as well in the near future.
Sadika and some friends (Chris, Sarah, & Sharon) have formed Toohnean, and I was present for the debut on New Year's Eve at The Grape Leaf (Sausan's place). They had spent much of the preceding week working and planing the four hour show (they even included me as a contingency relief plan.) Sadika provided melody and harmony vocals as well as oud performance and generally organized the operation. Christine gave a sterling performance on the drum, but I know that her arms were worn out by the end of the evening. Sarah delighted her family (and boyfriend) with performances on violin and rikk, while Sharon provided melody vocals for many songs. Sausan closed out the year with the final dance of the evening.
Salaam.
I want to give you a new resource for your collection. The lady calls herself Astarte and has advertised in Arabesque. She goes to Turkey two or three times a year and has lots of folk-type caftans, coin-veils and headbands. She also has tapes and some videos. Some of the prices are a bit high, others more than reasonable. Drop her a note and she'll send a catalog.
Astarte's address:
29 Richmond Ave
Amityville NY 11701
David touched base recently. I asked him about the stylistic differences between what he has been teaching and what I saw Vince Delgado doing. Both agree that what Vince is teaching is the classic/traditional style of drumming, while David says that he took a more modern tack for his methods.
This is not to say that one is better than the other, but to make you generally aware that the style that I have been teaching is directly from David (I had no other instructor before him.) In the near future, I will be working on what I learned this winter so that I'll have something new to share at Pennsic.
Durr
Zils, The Art of Playing Finger Cymbals .
Mimi Spencer put together an excellent rhythm primer that is good for both drummers and dancers. (See her address in Resources.) Though work is targeted for the Zils, drummers can use the same patterns with appropriate substitutions. This book contains more material than most tapes, and a companion tape set is mentioned in the work. My drumming students should get this book, as it will form the basis of what we will be working on at Pennsic this year.
The rhythmic notation is presented in such a fashion that no musical training is required. (After all these years, I've forgotten most of my music reading skills!)
Resources and Stuff
The Near Eastern Music Calendar
By Mimi Spencer
60 Pastori Ave #37, Fairfax CA 94930
Newsletter for the Near Eastern Music West Inc. foundation. Donate more than $7 to the foundation, and you get the newsletter.
Clyde's Guide Resource Directory
By Grapeleaf Productions
The Grapeleaf Restaurant
4031 Balboa St., SF CA 94121-2516
This is an annual mailing (circulation 10,000+) that lists various vendors, publications, and some events. Veil and Drum was listed there this year (surprised me!) Good source for dancers looking for vendors.
Chandra's Mid-East Dance News
19834 Jefferson Blvd.
Hagerstown MD 21742
This newsletter includes a list of events of professional interest in the Atlantic States region as well as the Eastern Mid-west (Ohio). Her catalog is a very good source for costumes and dance props as well as canned music.
Unveiled Thoughts
T. L. Seitz
2126 W. Sherman
Pieoria IL 61604
Thias Banu is producing a wonderful newsletter that every dancer should subscribe to; she includes various techniques and steps in a clear style that even I understand.
Shoshona
608 Dartmouth Place SE
Albquerque NM 87106
Dumbeks and pottery
IPA Gazette
International Promoters of Art Inc.
1020 Bunnel Rd, Altamonte Springs FL 32714-1201
(407) 788-2953
This is a good source of Arabic material (dictionaries, names, reference material, gifts).
Lark In The Morning
PO box 1176, Mendocino CA 95460
(707) 964-1979
Dealers in Middle-Eastern musical instruments. No other information available.
Middle Eastern Music and Dance
3620 Corinth Ave., Los Angles CA 90066
Hosts for the Mendecino EM Music and Dance Camp
Wandering Moon
59 Bridge St
Shelburn Falls MA 01370
(413-625-9667)
Costumes, garb patterns, accessories, jewelry, belts. Your one-stop shop for dancing apparel
Arabesque
1 Sherman Sq Ste 22F
NYC NY 10023
Flagship Dance Newsletter $25 / Year, $42 / 2 years
Ramona Klein
375 Ralph McGill BLVD Suite 1504
Atlanta GA 30312
Basic Doumbek Video Tape $28
Alethea's bellydance instructional tapes .
2070 Battle Row
Augusta GA 30904
Vol I Basic Body Movements & Isolations
Vol II Shimmy & Vibrations & Combos
Vol III Hand & Arm Techniques + Rudimentary Zills
Vol IV Combos That Work!
Vol V More Shimmies & Combos & Stomach Work
Vol VI Veil Techniques
$25 each, $85 for 4, or $135 for 6
Dr. Laura Lee Wright (Lora Leigh)
Michelle Wright (Sadafa Ibna As-Sabiil)
A. R. Leshinskie (Dinsdale)
Deanna Rose Likouri (Rhea)
Hector and Medinia
Kathleen Gregitis
Mission (Goals?) Editorial by Durr
Recently, Rashida and Da'ud have been commenting on the content of the Dictionary that Chengir published.[+ ] They express two concerns:
They hold different opinions on spellings and meanings contained therein;
They are concerned that someone might cite this news letter (V&D) as an authoritative source document.
As to the first issue, I encourage any who find fault to first open a dialog with the author. They should have the opportunity to research your comments and be given the courtesy of correcting themselves (if need be). If you wish to present an alternate source or reference as a standalone article, then do so. (This is the editorial /moderator policy.) I rely on the authors to check their facts.
It is equally likely that anything printed here will be at odds with an opinion, source, or fact. Some of us are using this conduit to provide information, some to ask for it. You (the readers) will have to decide for yourself what or whose authority to accept. I, for my part, try for a balanced representation (without favoritism).
Both Rashida and Da'ud have also expressed concern that V&D might be the difference between "doing it correctly", "doing it amateurishly", and "not doing it at all" ("it" being whatever you are doing as related to the original, historical activity). While it would be nice to be fully educated in all aspects of "doing it" before you start, most of us are in the "learn as you go" mode, as well as the "help others along" mode. (Most folks start with ideals, and reality catches up later.) If "outsiders" are judging us by viewing our "passion" as our "air of authority", then they are misguided. (It all goes to who claims authority, them or us.)
"It is better to spend an hour teaching than an entire night in prayer." (The Hadth of Abu Bakr, Chengir's gift to me.)
To Ruadhagan for the very large donation that subsidized this issue of V&D. Thanks to Atesh and Da'ud for the stamps and all others who contributed to this edition.
Some of the issues of Pennsic were discussed at the Hofla. I've given in to the folks that want to officially schedule classes (under pressure from both sides), and asked that someone else coordinate the Orluk Oasis camping area (on the other side of the road from me.) This will be my last year as Fire Marshal, and I will be busy training my replacements.
The Classes Autocrat, Dame Alys, will provide us with a 16x16 Grim's tent this year, but we need to fill it with classes. Esmerelda has offered to coordinate the planning stage for this, and she will be passing on information to Dame Alys (you could send them directly to Alys) for the official schedule. Esmerelda will organize the class schedule (we have already reserved the time for Beginner Drum Classes, 1-2 PM), so contact her to find the time slots. (Since we have advance notice of this resource, we have first shot at it. What we don't fill in by, say June, will be let go to other classes. I have asked Alys to try to steer related classes to this location, if possible.)
Adrianna A. White (Esmerelda)
RR 1 Box 114
Johnstown PA 15906-9735
814-539-0924
(Atesh's class will concentrate on how to develop patterns in dance to reflect the patterns and motifs that predominate in Islamic art.)
Camping for the Orluk Oasis will be organized and managed by Neefa, who volunteered to take this load from my back. (I still expect everyone to be responsible adults in that camp!) Since the possibility that zoning will be used again this year (limiting the camp size to 30 persons), I suggest that you get your reservations in ASAP (remember to include: number of people, tent sizes including guy-lines, and expected arrival date). She will need this information before May, so mail early and avoid the (land) rush.
Elizabeth Howard (Neefa)
44 Ruth St.
Pittsburgh PA 15211
412-431-2587
Anna asks about reheading slip-cast drums (the mass produced ones from Mid-East Mfg). If the body is sound (I repaired one for Therion that had been badly broken), there are two ways to put on the new head.
One is done with a jig, and once the head is installed, replacement requires a whole new head. Daveed taught a class on laced-heads at Pennsic. This method requires more inital work, but I like the results. Most often, the glue securing the heads softens and eases the tension on the head. Laced heads can be re-tightened, but the "lace-less" cannot. (More to come.)
Da'ud had asked what sort subjects are covered so that he might know what to contribute. He has suggested a narrow focus (time, location, culture) might be used so that he could address a specific area. Since the focus of V&D is broad (so as to include everybody), I suggest that he, like others, choose their favorite topics to discourse upon. You may find kindred spirits in this way. (My personal favorite is Damascus in 1195.)
Thus far, V&D has included:
Bibliographies
Book reviews
Introductions (Personal)
Event Reports
Calendars of coming events
Stories (classical)
Garb Patterns
Recipes, Feasts and Cookery
Language (words and phrases)
Customs (Behaviors)
I also would encourage the readers to pose questions so that answers might be proffered.
Mimika has hinted that she might be coming to Pennsic this year (it is not definite as yet). I'd like to get folks active in generating interest in what she might teach, and then letting her know that folks are interested. (I envision at least a few sessions on the historical perspectives of music, as well as lessons on the appreciation of the music. Instrumental lessons may not be reasonable for this venue, but that is not to say that we wouldn't hear her play as often as she would like!)
So, talk up the idea with all the arts-heavies (the ones they always ask to judge contests and performances) as well as the Laurels (who should be promoting this kind of educational opportunity). Give them Mimi's address so that they can directly encourage her to come.
Mimika
c/o Mimi Spencer
60 Pastori Ave #37
Fairfax CA 94930
Once again, Sadika contributes to the growth of our musical knowledge (she let me copy her notes). She transcribed this piece (the words are phonetic Hebrew) and said we could run it in the newsletter. (I can almost sing it now!)
She also wanted me to remind folks that she has a tape that includes most of the songs in both of Mimi's music books, and will make copies for you (send $2 for postage and handling with the blank 90 minute tape).
Karen Kessler sent us this description of a dance she learned at the New Mexico Dance Camp this summer. The codes and descriptions seem fairly straightforward, and I'd like to know if this is useful in describing dances. I'm currently observing the local Turkish Student Association Folklore dance group, and if this is a standard method, I could use it to document some of the line dances that they are teaching (even if I still can't dance!)
Weili Weili
(Bedouin Stage Dance)
WEILI WEILI is a choreographed woman's dance based on the dance motifs of the Bedouin, and includes the movements typical of men and women. The dance style is quite distinct from the erect, almost martial carriage of Lebanese dabkas. The Bedouin dances have a looseness of carriage and torso movement that are reminiscent of belly dance. The dance was introduced to the Baalbek Folklorique Dance Ensemble of Boston in 1975 by Joseph Mahjaba, a professional dancer from the famed Baalbek Festival in Lebanon's Bekaa Valley.
Source: Joseph Mahjaba
Music: Middle East Hit Parade (Monitor records MFS 741)
Style: Loose relaxed carriage. Torso and shoulder movements are central.
Formation: Line of dancers joined with hands down held loosely.
Meas. Cts. Movements
Figure I - Intro.
1 1-2 Step on L in place in downward beat as right knee flexes (ct. 1). Step on ball
of R beside L with right foot flexed, as body bounces up on the upbeat (ct. +).
This is a very springy bounce step, parallel feet gradually move in LOD. The
shoulders bounce up and down with each step. Repeat (cts. 2,+).
2-6 3-12 Repeat measure 1 five times (cts. 5-12).
7-8 13-16 Repeat same footwork as above, while adding shoulder pushes, alternating R and
L. Right shoulder fwd (ct. 13). Push left shoulder fwd (ct. 14). Repeat (cts.
15-16).
9-32 18-54 Repeat entire sequence three more times (cts. 18-64).
Figure 2 - Rock and Sidesway.
1-2 1-4 Rock fwd on L (ct. 1). Slight hop on L (ct. 2) Rock bwd on R (ct. 3). Slight
hop on R (ct. 4).
3-6 5-12 Repeat measure 1 twice (cts. 5-12)
7-8 13-16 Stepping L to left, sway torso to left leading with the ribcage (ct. 13). Sway
torso to right, leading with the ribcage (ct.14) Repeat to left (ct. 15).
Repeat to the right (ct. 16).
9-14 17-28 Repeat measures 1-6 (cts. 17-28)
15-16 29-32 Stamp L in front (ct. 29) Hold (cts. 30-32).
Figure 3 - Shoulder Bounce and Torso Undulation
1 1-2 Slide L beside R as you lift and push shoulders. Right shoulder fwd (ct. 1).
Left shoulder fwd (ct.2). A "bouncing" effect is created during this movement
by shifting weight onto the balls of the feet and rising and dropping slightly
by flexing the knees. The shoulder lifts and pushes are on the downbeat of the
bounce.
2-6 3-12 Repeat alternating shoulder bounce five times (cts. 3-12). On the last count
sway both shoulders bwd (ct. 12) as you lean torso bwd from knees in preparation
for torso undulation.
7-8 13-16 Bend knees as upper torso leans fwd (ct. 13) Continue bending knees into crouch
as torso is bent deep fwd (ct. 14). Straighten torso as begin to unflex knees
(ct. 15). Push upward torso by straightening knees as rise on balls of feet to
emphasize unfolding (ct. 16).
9-16 17-32 Repeat entire sequence (cts. 17-22).
Figure 4 - Rock, Turn, and Hip thrust
1-2 1-4 Hands still joined, rock fwd onto L (ct. 1) Slight hop on L (ct. 2). Rock bwd
on R (ct. 3). Slight hop on R (ct. 4).
3-4 5-8 Step fwd on L as hands let go and pose, left hand on left hip and right hand
cups behind right ear with open palm, and begin turn CCW on R (ct.5). Hop
slightly on R as turn 180deg. CCW to face original direction (ct. 4).
5-8 9-16 Repeat cts. 1-4 with hands still in pose (cts. 8-12). Facing right diagonal,
step fwd L as left hp is thrust fwd (ct. 13). Close R beside L as hips level
(ct. &). Step fwd L as left hip is thrust fwd (ct. 14). Close R beside L as
hips level (ct. &). Step fwd L as left hip is thrust fwd (ct. 15). Stamp R
beside L (ct. 16).
9-16 17-32 Repeat entire sequence (cts. 17-32).
Figure 5 - Slow Pas-De-Bas Fwd
1-2 1-4 Step/stamp L fwd slightly, arms still in pose (ct. 1). Swing R fwd in CCW arc
across L, as hop slightly (ct. 2). Step on R across L as body turns to left
diagonal (ct. 3). Left knee bends slightly, as L is raised behind R (ct. 4).
The upper torso leans fwd, leading with the shoulder, and look over the shoulder
to the audience, not the floor.
3-4 5-8 Step bwd L (ct. 5). R swings bwd in cw arc (ct. 6). Step onto R behind L (ct.
7). Hop slightly on R (ct. 8).
5-8 9-16 Repeat entire sequence (cts 9-16).
Figure 6 - Shoulder Sway
1 1-2 Hands still in pose, step on L fwd as turn torso to side and look over left
shoulder to audience, and sway left shoulder to audience, leading with the
ribcage (ct. 1). Sway shoulder and ribcage to rear (ct. 2). Note: The ribs
and making a vertical "8".
2-4 3-8 Repeat sequence three times (cts. 1-8).
Figure 5 - Slow Pas-De-Bas Fwd
1-4 1-8 Repeat earlier sequence (cts. 1-8)
Figure 7 - Rock and Diagonal Sway
1-2 1-4 Rock fwd onto L (ct. 1). Slight hop on L (ct. 2). Rock bwd onto R (ct. 3).
Slight hop on R (ct. 4). Move slightly to right.
3-6 5-12 Repeat sequence twice (cts. 5-12)
7-8 13-16 With torso facing right diagonal, look over left shoulder to left diagonal and
sway torso to left diagonal (ct. 13). Sway right shoulder bwd (ct. 14). Repeat
sequence (ct. 15-16). The diagonal sway is more restrained than the fwd sway
earlier.
8-16 17-32 Repeat sequence from beginning (cts. 17-32).
Figure 8 - Mijwiz Step
1-2 1-4 Facing right, with both hands clasped on back of head, looking over left
shoulder at audience and knees bent in deep flex, move fwd with the following
step. Step L fwd as thrust left hip (ct. 1). Step R beside L (ct. &). Step L
fwd as pivot on L CCW, so that the torso faces to the left diagonal with right
hip leading (ct. &). Step R fwd as thrust right hip (ct. 3). Step L beside R
(ct. &). Step R fwd as pivot on R CW, so that the torso faces to the R diagonal
(ct. &). As one advances toward the audience, look at the audience through the
arch formed by the arms. Repeat sequence (cts. 5 & 6, 7 & 8).
3-4 5-8 With torso facing to the left diagonal and head facing fwd, demi-plie with feet
and knees parallel (ct. 5). Turn body fwd as extend R fwd swinging in CW arc
(ct. 6). Continue swinging R in CW arc, to end facing right diagonal (ct. &).
Repeat on opposite side (cts. 7,8,&).
3-4 9-16 Repeat sequence from the beginning (cts 9-16).
Figure 9 - Rock and Gallop Forward
1-4 1-8 Joining hands with arms down, rock fwd on L as body leans fwd (ct. 1). Hop on L
(ct. 2). Rock bwd on R as body straightens (ct. 3). Hop on R (ct. 4). Repeat
fwd and bwd (cts. 5-8).
5-8 9-16 Step fwd on ball of L (ct. 9). Step/chug with a snapping motion behind L while
L brings the left heel off the floor, so that the L is raised with bent knee
while the right toe is where the left heel was (ct. 10). Repeat (cts. 11-12).
Step on ball of L (ct. 13). Snap onto R behind L (ct. &). Step fwd on ball of
L (ct. 14). Snap onto R behind L (ct. &). Step fwd L (ct. 15). Step/stamp R
beside L (ct. 16).
Figure 10 - Backing Up
1 1-2 Step bwd L sharply as torso leans bwd (ct. 1). Step R beside L as body
straightens (ct. 2).
2-4 3-8 Repeat three times (cts. 3-8).
5-8 9-16 Rock fwd onto L (ct. 9). Hop on L (ct. 10). Rock bwd on R (ct. 11). Hop on R
(ct.12). Stamp L fwd, no weight (ct. 13). Pause (cts. 14-16)
Repeat Entire Dance form Figure 3 - Shoulder Sway with Undulation.
I thank you for the latest issue of V&D! I especially appreciate the note about the music you included. Unfortunately, I couldn't make the Hofla, funds just wouldn't allow me to travel that weekend. I would however appreciate copies of the music.
We are drumming fairly regular down here in Bright Hills (Baltimore). Sartok, a squire to Graf Stefan, is leading drum practices at Friday night fighter practices and we will soon be having drumming and dancing practices at one of the local colleges starting in February. Sartok hopes to have a good sized troupe for Pennsic. Also, we are planning on having a Middle Eastern Drumming and dancing event sometime this spring. I'll be sure to drop you a line as soon as I have more information.
I ran into Tsurunaga aka Hasan, at Atlantian 12th Night. He has moved since Pennsic and has said that he will drop you a line soon. Unfortunately I don't have his address to give to you. He did, however, mention that you used to rehead drums with real calf-skin. Do you still do this? A few weeks ago I accidentally knocked my drum over and cracked the drumhead. It is a ceramic with a synthetic head. I spoke to the store that I bought it from and they said that they would have to send it to Florida to rehead it and the drum might not come back alive...(I don't like this idea!!!) If you don't, do you know any place that I may try? I'd appreciate your help!
Well, that's about all the news! I hope that the winter is not dealing with you too harshly and that all is well. Until we meet on the road, good journey and long life.
(First, an apology to Rozalynd and Robere for forgetting to mention their presence at the Arabian even in Bhakail.) Since the last time, my travels on 4 Feb. have taken me to the Coronet of Ealdormere, where Knott and Arnora and I worked on the new patterns. (Rozalynd needed to borrow my hat.) We played that evening for a 20 minute dance set. I also had the opportunity to continue spreading the music, and one of Hector's apprentices sang a song she had written about a famous dancer.
On Feb 11, Sabirah, Sartok, Donnaelin, Atesh, and I were hosted by Sir Richard and his lovely wife in Fredricksburg VA for a weekend of dancing, drumming and music workshops. Sartok and I took over the kitchen and prepared several small dishes (Harirah, Domates Salat, Kibeah, and Egga).
About that Wedding Agreement..
Chengir delighted us with a story and then formalized the wedding of Neefa and If-fa' (in the style of the Afghanis) at Pennsic this year. Neefa has begged the story from him, which it is my pleasure to share with you now.
One of the most famous of all Bedouins was Hatim ibn Abdulla of the tribe of Tai. Hatim was a orphan brought up by his grandfather. As soon as he was of age and inherited his father's flocks, he slaughtered so many animals for his guest that he soon found himself a poor man. One day, when visited by three men, he killed three camels for dinner. it so happened that the three men were famous poets and one of them, Nabigha al Dhobiani, immediately improvised a poem in praise of their young host and his tribe.
"My idea was to do you a kindness," said Hatim, "but your poem has put me in your debt." Whereupon he insisted that the poets accept a gift of all the camels in his possession.
Soon afterwards, his grandfather hastened to the scene and asked indignantly what had become of his camel. "I gave them away," Hatim replied. "If I had kept them, they would all have been dead in twenty years. But in exchange for them, I have won a poem in praise of our family, which will pass on from mouth to mouth until the end of time."
Hatim was also a famous host. To a Moslem, a guest must be protected at all costs. Once an outlaw, who was staying with Hatim was arrested by the agents of the Caliph. Hatim rushed before the Caliph and demanded to be executed in the man's place, claiming that the man was his guest. The Caliph was so moved by this level of loyalty to a guest that he released the man into Hatim's custody.
Thus it is said among the Afghans that when a man and a woman are joined in marriage, they become guests in the House of Allah. And should any man or woman come between them, then Allah will hear of it. Considering that Hatim Tai was willing to die for his guest, imagine what Allah would do to protect his.
Unto all the marvelous Readers of The Veil and the Drum does Asim al-Talib send greetings and salutations!
Greetings from the Great Wastelands of lower Atlantia! I have been continuing my attempts to water the deserts here with knowledge of The Dance, and the great and wondrous culture from which it sprung. All praises to those who have succeeded in their areas, for I am finding it to be a most hard and rocky soil out there, especially here in what is called the South, which is set in it's ways, and rarely open to the beauty of such things as we bring to them.
But, enough of such talk. I refuse to fall into the pool of my reflection, for even wondering what might have been. We have finally manage to begin to look towards a weekly practice, and are especially blessed that we have, in our area, Kerry. She is a dancer of many years experience, who is willing to teach us for no fee. I have been encouraging all to come out, for she is going to have to move in the next few months due to lack of money unless she can find a new job.
In the meantime, she has caused me to discover a completely new (if somewhat embarrassing) talent, one that I could have never guessed I possessed. I can make cabaret dance costumes...sort of. I cannot produce the complex beading and other things of that sort that make some of the best costumes, but I believe I have a small talent for the basic designing of such items for both men and woman. It is, actually, far simpler than folkloric dance garb in many ways, but not nearly as satisfying. Luckily, Kerry prefers the more folkloric styles to the typically overdone cabaret costume, so it all translates very nicely. For instance, I'll be attempting to make a qumbãz soon (for those who do not know, that is a very traditional tunic that works like a higher-cut, well-fitted bathrobe), and that should help not only with making the Ghawazee coat for her (I don't need one of those! Enough people look oddly upon me as it is...), but also a tunic to go underneath.
At any rate, we seem to have gathered about 4-5 regular people to work on this. Of course, such things do flux, and I was unable to devote too much time to dance, and Teresa stepped in for me. Considering the hours she works, and the time she puts in not only with us but also with helping her parents and other family, she is an inspiration to all. With but a lesson or two, she is dancing with a grace and beauty that I wish I possessed. Unfortunately, she is still somewhat shy about dancing in public, but we are working towards making her more comfortable with the idea, for such skills are not to be hidden. In my estimation, if Allah so chooses to bless you with not only such talent, but also with the people to support you in learning it, let it be brought out for all to see and enjoy! At least, that is the only coin in which I would even wish to be repaid (if I ever felt I did enough to earn such a thing), for it is a truism in many religions that those who give from there hearts and souls in such things as The Dance will receive blessings uncountable by all the tax collectors Allah has even alighted upon these lands.
And, in a similar vein, to those who wrote me, I thank you for your letters and support. I have attempted to write back everyone, since I would not wish to be seen as rude, and any help is help that I shall never refuse. Anyone who has not heard from me by now is hearby given the right to apply 50 lashes upon the back of this Most Humble Servant of Allah for his failures therein. One can but try.
At any rate, now that we seem to have the beginnings of a fairly active Dance group here, I am looking, as always, towards our next step. When, and if, Kerry leaves I intend to have a group of people with some basic training in the dance, but even more importantly, I hope that we all will be confident enough in our abilities to spread out, like seeds, and grow an awareness of the dance in this area. Even though this area is as arid as the deserts, I think this is not only a possibility, but a necessity.
I am sure that all of you have met many people who have expressed an interest in what we do, only to shy back. Their reasons are many; yet I find that they tend to come out of their shells the more you come out of your shell and make them comfortable with the ideas and ideals we have found in the SCA. I sincerely think that we can, and should, spread these concepts amongst those called heathens by some, unbelievers by others, but are, in truth, only possessed of a particular mindset, and have not been exposed to other mindsets perhaps more congenial to them. This is not a war of any sort, but a spreading of a different concept in life.
One may wonder how teaching Mid-East Dance can do this, but you only need look at a typical night's worth of shows on National Television to understand only one or two of the differences. The freedom from the massive set of unnatural rules that are placed upon woman (and, to a lesser extent, men) is wondrous to behold in and of itself. I could go on, but this is not a soapbox, especially for those things we all already know so well.
I intend to also become more active in the "mainstream" dance community (what an odd name for it, but it is true). I still feel as though I am a beginner in such things, and recent events have conspired to rob me of time to practice my dance, leaving me stiff. Yet, I still possess some small grace, and will be returning to regular practice ASAP. I also intend to devote some time to workshops and the like, attempting to gain new knowledge, as always.
In that same vein, I have been encouraged by Kerry to finally pick up the dumbec, and learn it. In the process, I also have discovered that what little talent I had in this area has completely leaked out of me in the months since I played last. I am, therefore, asking the populace to deluge me with information, ideas, and the like on learning the dumbec, esp. in terms of rhythmic knowledge that can be translated into my dancing. In short, Help!
But, enough of myself and my travails. I would hear of what others are doing, so I will continue to read V&D (All Blessings upon Baron Dur!), and anyone who wishes, feel free to write me, or to simply respond via V&D. I do intend to be at Pennsic this year, so I hope to see you all there, if nowhere else. Until then, may the fruits of your labors bring the greatest of Allah's favors upon you.
----Asim al-Talib
(mka Woodrow Jarvis Hill)
20 Lawton Avenue
Greenville, SC 29601-2306
or
PO 7016 Box 187
Greenville, SC 29606
(803) 233-4468
P.S. Hey, you! These are addresses to write to, not just to look at and think, "Hey, he knows his 9-digit zip code, neat!" at. So have at me!
Greetings Durr ishJabal Bey alFarengi! (Cool name. Never knew the whole thing before.)
One of my Bros forwarded your post on the Rialto to me since she knew we'd be interested. Myself, my lady Shibar, our Brothers Teken and Kharajin, Kharajin's lord, Karl, and a few others who come and go, have formed a Middle Eastern Troupe called Alghiz. Kharajin was the catalyst, as she danced, but had trouble finding music to dance to at Events. When it became apparent that Shibar was also going to learn to dance, us guys had to do something, so we learned to drum. One of Shibar's neighbors gave her an old mandolin she had in her attic, it caught on with those of us who could play stringed instruments, and Teken got one too. Teken acquired an 'Ud last Pennsic, and we've been going crazy ever since. Unfortunately we live here in provincial Charlotte, NC, and except for recorded music and videos, we have nothing to learn from. Our interests lean more towards the Turkish, and what has become known as American Tribal, rather than the Egyptian or Cabaret styles, but we're so starved for knowledge that we'd jump at the chance to learn from anyone who has something to teach us.
So, what I'm trying to say is, there're anywhere from 3 to 7 people here jumping up and down yelling, "We're interested in Pennsic classes with Mimika, Durr! We're interested!" Please let me know if there's anything I can do to help. (Like providing space in Moritu Camp for the class?)
Thank you for your effort in providing this opportunity.
-Almerich
Khanate Utagansubisun
Dark Horde - Moritu
Another letter from Almerich..
Dur,
Received your newsletter several days ago. Thought it was very well done. Especially liked the Djuha stories and the "Music Notes?" section. Learned some new rhythms, and the names of some rhythms we'd been playing all along. I had quite a few years of music and music theory in school, but I must admit I had to work just a bit to get the hang of reading the drum tabulations. Thought I might have to dig out a doumbec book to look it up, but I found the name of a rhythm I knew, and that gave me the key. My fault, not yours.
We regularly play a coffee house in Charlotte called St. Ruby's Java Joint. A couple of Fridays ago a lady who is filming a bit on 'support the arts' to try to sell to the networks to use as one of their mandatory public service announcements. So this past Friday, at sunset, (*burr*) we went downtown and climbed up a ladder, in full garb, carrying instruments, onto the roof of the old fire station (currently a production studio) at the corner of 5th and Graham, and were filmed against the backdrop of the Charlotte skyline, complete with fake fire and tiki torches held up by milk crates. Don't know when it will be aired, if at all, but be looking for us in the wee hours of the morning when they air all the mandatory public service announcements. What I consider to be the best perk out of this deal, is that we had a friend who plays with the rock band Animal Bag (free plug) make a Digital Audio Tape of us about a year ago, and since they borrowed it to use as the sound for the film they did of us (real film too, not cheapo video tape), and they just happen to have recordable CD equipment there, they're going to put our DAT onto CD for us. Too cool, huh? I'm probably going to sample some of it for uploading. I've been thinking of just sticking my mike in front of the stereo, but now that we've got a CD coming, I think I'll wait.
Anyway, just wanted to let you know we enjoyed the newsletter and want more. Didn't really see any Propaganda (tm) though. Must have been an off issue. <g>
-Almerich
During the course of events at the Hofla, several folks discovered some facts about the differences in fabrics (silks, cottons, etc). What are the differences between the different kinds of cloth, What would we find in the suk, where would it come from, how was it made differently from the other regions that made the same thing? Would someone please respond to this?
3 cups cooked white beans (Navy), 1/4 cup sliced black olives, 1/4 cup chopped and sauted onions, 2 Tbsp olive oil, 3 Tbsp lemon juice, 1Tbsp Black pepper. Saute onions in half the oil. While beans are still hot, toss with onions and olives. Mix oil, lemon, and pepper and toss into mixture. (Garnish with green and red pepper rings and hard-boiled egg.)
This winter hofla was full to over-flowing (thanks to Sabirah's letter writing campaign) with folks from near and far:
Hanna, Yasima, and Azizah all the way from Meridies; Kamilah and Sebeac(ah) from Ostgar; Sabirah, Sartok, Donnaelin, and Keira flew up from Storvik; Neefa and Shakti from BMDL, as well as Jameela and Mark(?); Chengir and Kathira came down from Ridderich Hael; Zimra came from Gwentarian and also brought Jazz and friend from BMDL;. Esmerelda came up from St. Swithins Bog; Dorian, Celene, and two friends made it up from Black Rose; Mustafa and family traveled from Highland Forde; Tahira and friend came over the mountain, and Hengist, Valeric, and Ravenjade came in from the local area to complete the crowd. We missed our regulars, Bryan, Alissa, Tuana and Morgan this time.
The early arrivals descended on the semi-annual fabric raid to Roaring River Mills. While Kathira held sway with her discourses on family (and political) life in medieval Islam and Kamilah taught more dance basics, the drummers worked on several new rhythms and the techniques Vince Delgado taught me. We also watched the video tape Jannat Raushana al-Rumiya sent (Orluk Oasis from Pennsic IIXX) and saw many of our friends (lots of good comments!)
The dishes served this time included Shaurabut Adas (red lentil soup) Kibbee (lamb meat loaf), Samak Quu Armah and Mashkoul (curried fish on rice), Babaganoush (eggplant and tahini), Humis (the old favorite), Piyaz (white bean salad), Daja wa Basal (broiled chicken with onions and prunes, Hunkar Begendi and Tas Kebap, (braised lamb on a bed of aubergine) Asuil Noah pudding), Keskül, Bejaz Peynir, and Burma Börek (stuffed pastries), and Malfuf Salat (cabbage salad). The Cinnamon Tea was a popular drink. I chose these dishes as they can be prepared at Pennsic with a few utensils and little work. Egga (Persian omlettes with spinach) were served for Sunday breakfast. (I'll try to put the recipes in the next issue.)
Zarina (Michele) gave me some notes on converting saris to garb while I was visiting. These include some basic tips on planning and design as well as some references. She professionally designs and constructs this kind of garb (she does good work!), and was a bit reluctant to divulge trade secrets. For her contribution I am grateful. (most of this material is from the notes shown in bold she gave me and what I can remember, so please forgive any mistakes.)
Conversion of saris to garb requires a fair amount of pre-cutting planning. First, lay out the sari and consider the placement of all the decoration parts (the borders used as trim, the head piece used as a yoke or front panel). Most saris seem to be 43 inches wide by 6 yards long (the head piece seems to be 24x43 inches). I've included a digram that shows the common arrangement of borders and decoration areas of a typical sari (your mileage may vary). Know the measurements of the body you are clothing. While this warning might seem superflous to some, what might be a good idea is to follow the carpenter's rule: measure twice, cut once.
Because traditional loom widths seem to be in the range of 14 to 16 inches wide, consider this when laying out the basis of the work. One of the other aspects (I got this from other folks as well) is that there should be no waste as with modern sewing; all panels are rectangular, or fashioned as right triangles cut from rectangles. (I have been told that the further East you go, the more often triangles are included in the construction.)
Draw cutting plan with dimensions accurately before cutting. Figure seam allowances into dimensions. If you are going to line the garb, you will have to allow for both the "bagging-out" seam and the finished seam. I suggest 1/2 inch seam allowances for each, so you will have to allow for a whole inch on each seam. This will mean that for a 14 inch panel, you will need a 16 inch wide piece.
Always flat-line thin silk and gold borders. The work that I saw was lined with a fine cotton (like muslin). If you have metal embroidary, it will be neccessary to line, as the metal exposed on the inside of the fabric will snag the other fabric (or scratch you).
Good idea to "bag-out" each secion before sewing the garment together. This is turning the fabric after lining it (remember, sew the right sides together, and then turn). What I need to learn is how to connect the finished seams together. Also, remember to press finished seams flat.
Sometimes re-attaching the borders where you want them is easier than cutting them as borders on sections. On the work that I examined, Sarina had treated the trim-border as a panel just like the others. The following diagram shows two typical construction methods, each using the traditional panels and triangles
Be aware of drycleaning requirments. For those of use who don't know how this applies, anyone got a comment?
Reference Texts:
Palestinian Costume - Sheilah Wier
Historic Costume in Pictures - May Tilke
Cut my Cote - Textile Museum
I received a note from the family of his intended, and by the middle of April, Daveed and his beloved should be firmly cemented!
Our best wishes for long life and happiness go out to them!
Lady with a lot of class(es)...
Greetings all endthusiasts of Middle Eastern dance, music, history, and culture.
Lady Esmeralda la Andaluza (Sdryana) does bring you tidings of a wondrus opportunity! And, so does bid you assist in taking this rare opportunity and turning it into a gem to be enjoyed by us all.
For the first time ever, the Pennsic Arts and Sciences Coordinator is planning on having a separate A&S tent set up with the Orluk Oasis. Details are still being firmed up with Baron Dur; However, at the present time, it seems that Orluk Oasis will be the home for a 16'x16' A&S tent. Can you believe it? A tent for Middle Eastern fancs to use to schedule classes to their little heart's content-without having to trek all over the known world. What this also means is that we have been recognized as a substantially sized segment of the SCA, with a tremendous amount of material to share! Now for the catch (you knew there had to be a catch)-if we want to keep the tent for our exclusive use, instead of having the A&S Coordinator scheduling classes in there, we must schedule classes ourselves, and make full use of the tent. Also, the A&S coordinator wants the class schedule sent to her by May 1, 1995, so that these classes can be publicized and made available to all who attend Pennsic.
I dont't know about you, but I think this is a perfect opportunity for us all to learn and grow in a subject which we find fascinating. And, is a great opportunity to share what we know and love with others who may have questions.
I have volunteered to be the "advance coordinator" for this great opportunity. I will be the contact person for anyone who wants to share, working with you to schedule classes at your convienience. What I would like to ask of you is that you VOLUNTEER TO SHARE YOUR KNOWLEDGE. Lets fill out the tent schedule so that the then is considered a worthwhile investment by the A&S Coordinator. And, lets show the Society just how much we have to contribute!
Before you start looking around, asking "Who? Me?"-yes, YOU! We need you. We want you. I know you will have something to sahre. Besides, think how much fun it will be to be in a very informal (shaded) atmosphere, talking about what you love, with people who are eager to learn as much as you already know. You could... teach some Arabic words, advise on garb or costuming (male and/or female), review a worthwhile reference book or video, explain aspects of the Middle Eastern cultures/religion/ history/societies/arts/music. lead a dance class, drum up some rhythm, ...
Quite a bit of excitement was in the air at Dur's hafla, and here are some topics already on tap:
As an eternal seeker of knowledge, here are some topics I personally would love to see addressed (yes, it's an invitation for you to share):
Inshallah
Esmeralda La Andaluza
(Adriann White)
RD #1 Box 114
Johnstown PA 15906
814-539-0924
Ed Note:
I have asked Esmeralda and Dame Alys to maintain regular dialog on this so that both can keep track of the schedule. If a partial schedule is available for the June issue, I will include it at that time.
I never thought I'd see her beating a drum, but Esmeralda banged this one pretty good, eh? From my perspective, this is the time to pull together for the al-Mulin (the School) as a formal event (we have been dry-running this thing for several years now). The "Pennsic Barn Dancers" have been successful with joining a "field of interest" with a "college campus," and that is what the al-Mulin will grow into (I hope).
Maybe, just maybe, I'll have time to attend some of the sessions myself this year, instead of relying on tutors to come to me...
(Why do I feel that the al-Mulin needs an Alma Mater song?)
Here endeth the lesson...
Until next issue, may you all be blessed to the extent of your piety and generousity...
Durr ishJabal min al-Maqfi Jabal abu Neefa ben Durrah, Sultan al-Tabl
To Neefa, Shandra, Rashida, Rachelle, Soohra, Mickie Zekley, Da'ud, Mustapha, Hanna um Azizah, and Galen for articles (I'm still using artwork that Chala sent).
Send all materials to:
Veil and Drum
165 Fishburn Hill Road
Bellefonte PA 16823-8478
The Fine Print...
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Subscription/Advertising Policy
The cost of publication and distribution is mainly out of my pocket (about $200 per issue), although all donations are gratefully accepted and used to defray these costs (stamps are a donation that get used right away). Folks who write (letters, articles, reviews, questions) stay on the subscription list. There is no fee.
As to advertising, well, sort of. If you want to advertise something send me copy. If I think it has value and interest to the general readers, I'll look for a spot for it. If I find a place for it, I'll include it. If you want to sponsor an issue, we'll talk.
Zarina has promised to send additional comments on the process of converting saris to garb.
Kamilah sez that Turquios International (22830 Califa St. Woodland Hills CA 91364, 1-800-548-9422) is a very good source for zils-get 12 sets or more at wholesale prices! Shakti told her that Atremis Imports (PO Box 68 Pacific Grove CA 93950, 1-408-373-6762) is a source for Kohl, henna, dance belts, misc. jewelry, and music. She also tried to teach at Celtic Silliness (Long Island), which was a flop (event problems). This, however, was offset by the hospitality of Bergental at their event. Mashalla!
Camping for the Orluk Oasis will be organized and managed by Neefa, who volunteered to take this load from my back. Get your reservations in ASAP (remember to include: number of people, tent sizes including guy-lines, and expected arrival date)[*] . She will need this information before May, so mail early and avoid the (land) rush.
Elizabeth Howard (Neefa)
44 Ruth St.
Pittsburgh PA 15211
412-431-2587
A reminder that Esmerelda has offered to coordinate the planning stage for this, and she will be passing on information to Dame Alys (you could send them directly to Alys) for the official schedule. Esmerelda will organize the class schedule , so contact her to find the time slots. (Since we have advance notice of this resource, we have first shot at it. What we don't fill in by, say June, will be let go to other classes. I have asked Alys to try to steer related classes to this location, if possible.)
Adrianna A. White (Esmerelda)
RR 1 Box 114
Johnstown PA 15906-9735
814-539-0924
Ask, and it shall be answered!!
Letters from Rachelle
Rachelle Ibrahim is a new subscriber to V&D and has leapt into the fray with a wealth of experience to provide much enlightenment for us. Here are several pages of notes she sent in for publication (as well as an introduction).
In response to your seek for knowledge, I have a lot to contribute. My family is Moslem, my husband is a Palestinian (raised in Jordan and Kuwait) who came to the US in 1978. I can address most of your questions on Islam, Middle Eastern culture, Middle Eastern dance, music, and probably other topics you haven't even thought of! If I don't know the answers I have the resources to find the answers.
On a personal note (just for the record) I abide by Islamic rules and do not dance for any men, just for my husband. I do teach women to dance and I dance for women following the rules for such activity.
Reheading slip-cast drums (the mass produced ones from Mid-East Mfg.) with the synthetic heads should be done by the manufacturer.
If you are going to put on a head yourself, consider the following factors:
The thicker the head, the harder you have to play it to get the sound out. Also, thick heads really cannot be stretched on a drum without some kind of permanent fixture attached to the drum (like a conga drum, for example). Once, I tried to put a conga head on a doumbec, and let me tell you that that won't happen again! (A good waste of time and leather.)
Jigs for glui