Volume #1, No 1
This newsletter serves the those of the Arabic and 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. al-musta'rib 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.
Tantum agendum, parvulus tempus
Send all materials to:
durr al-jabal al-mukhfiTypesetting by Dur T. Nasty Publications, using Microsoft Word. Reproduction by Express-Tech (1-800-359-2097)
Our Web site:
http://www.lazerlink.com/~dwarph/al-musta'rib.html
Email: al-mustarib@iname.com
As such, I felt the term clearly applied to most members of the SCA who are adopting the various cultural aspects of Arab influenced culture through the various mediums. It is my hope that this little newsletter can help in the exchange of information for the mutual benefit of the subscribers in their enjoyment and realization of this pastime.
In this and coming issues, I hope that you, the readership will present various materials for inclusion in the newsletter. I cannot be the only source of material, for I have neither the time nor resources to even begin to tap into the wealth of information available to help you in your search for information.
Its primary purpose is to share information of any segment of the daily life in this cultural setting. Its secondary purpose is a communication organ for subscribers who are also members of the Society for Creative Anachronism (however, is not an organ of that organization.)
Materials of a timely nature or reports and letters may be printed if of
interest to the general readership.
Winter Hafla
(10 January, 1998)
Once again, we had good weather for those who travel from far and near to the winter hafla. Knott and Valizán came the furthest (Sadika still has all beat from last year!) 19 good friends danced, drummed, and sang, and every once in a while we listened to Sartakh's old soldier stories.
A repast of various Moorish, Tunisian, and Persian dishes were presented, complemented with an exceptional baklava prepared by Aurora (Mustafa's daughter.) The main dishes included humus and bashara (fava bean puree,), harira (Rammadan stew,) Spinach salad with oranges and roasted nuts (Persian), broiled lemuun dajaj (the lemon chicken), kefta (lamb rolls,) and caramelized onions on a bed of chickpeas and cous-cous.
Several different topics made the rounds, including planning classes for the up-coming Pennsic (we will dun a few folks for some new classes) and the possibility of doing the next winter hafla in an open format for the SCA groups (including advertising it in the kingdom newsletters.) More of latter will be discussed as the year progresses.
Insert Map
Men - A linen or cotton under tunic with long sleeves under a striped tunic. These would be covered by a loose coat of wool or mohair with full sleeves, most often of a solid dark color.
Colors - The colors tended to be towards the browns, indigo, maroon, rust, muted green and white.
Men - A short crossed caftan with tight sleeves worn with short trousers, wrapped like a sari, with extra fabric brought through the crotch from front to back and then tucked up into the sash. Both the caftan and pants were belted with a sash. A longer length frog closed caftan was the next layer.
Colors - Purple, white (religious) lapis lazuli blue, olive green, turquoise and many shades of brown. The designs of the material were orderly/geometric floral patterns or embroidered.
Yellow boots were worn over slippers when outside the home. Makeup included rouge on the cheeks, staining their fingertips with henna and extending the eyebrows with kohl so that they met in the center.
Men - Linen shirt closing at the neck. Pendant-sleeved coats, right-sided cross closed tunic, felt cap and head wrap, caftan of wool or sheepskin, trousers tight at the shins, boots, an abundance of brocades and silks worn in layers and the turban were the most obvious elements of their costume.
Colors - They preferred bright and loud color combinations such as turquoise and purple.
Women - An undershirt of cotton called a kamis, related to the chemise. Can be floor length or shorter. Next is a long robe, open at the neck, closes with buttons. Worn either as the top layer, over the kamis, or as a subsidiary layer under other garments. A mid-calf length, semi-circular cloak with a fringe can be worn for warmth. A long narrow veil worn over the face is unique to this region.
Men - An undershirt of cotton called a kamis, related to the chemise. Can be floor length or shorter. Over the kamis is worn a long full tunic with long wide set-in sleeves and slits for the hands to reach the under layers. A caftan with crossed fronts and pants can be worn in place of the kamis. An aba is the next layer, a simple, loose gown worn over the other garments as a cloak or blanket, made of plain or striped wool, camel, goat hair or silk.
Colors - Brown, blue (light, mid and dark), ecru, fawn, green, clear red, salmon pink, turquoise, yellow (note: white when used was cotton). Black is not achievable by period methods, it is more charcoal gray in appearance.
Men - A undershirt of cotton that opens in the front cover with an over tunic which is made fuller with the use of gussets. A simple loose gown worn as an aba made of wool, camel hair, goat hair or silk.
Colors - Are muted with occasional gold braid worn as trim. Strips were popular.
General - The caftan closed right and five or seven buttons were used.
All Muslims wear turbans, except some Bedouins and Levantines who kept the keffiyeh. Men always covered their heads.
A woolen or felt skullcap is worn under both the keffiyeh and most turbans. The only difference between keffiyeh and the turban is that the cloth of the keffiyeh is left hanging freely instead of being tied around the cap.
All women wear veils in public (except for some tribal desert people - Berbers, Tuaregs, and Bedouins), or when there is any chance that they might be seen by a man who is not a relative.
Footwear consists of leather boots, shoes, and sandals; these are worn with protective overshoes and wooden patterns when outdoors. Outer-shoes are removed upon entering a building so as not to damage the carpets.
Women wear large amounts of jewelry (mostly silver). Other styles include strings of semi-precious or ceramic beads, or small decorative shells in coastal regions.
Cosmetics include kohl around the eyes, rouge, henna and tattoos. Rouge is a fine red powder prepared from safflower and was used to paint the ladies' cheeks in traditional Arabia. It was also applied to the lips. Black henna is reserved for the soles of the feet and hands while red henna is used the tips of the fingers and toes. Tribal styles include facial tattoos in the form of geometric designs and sometimes indicated tribal heritage or status. The tattoos were placed on cheeks, forehead and chin as well as hands, fingers and tops/soles of feet.
Metallic fabrics were available for the wealthy. Period metallic patterns were either geometric or used the background for small embroidery of a flat color.
Linings of coats/caftans were bright contrasting fabric that allowed them to be displayed at cuffs, necklines and hems. Some of the fabric treatments included: appliqué, quilting, embroidery and trim to enhance/strengthen the seams. NO BUTTON HOLES - closures were done with frog-like attachments, ties, pins/brooches and wraps. If the material had to be fitted in to a small area, pleating was used in place of gathers. An example of pleating would be cuffs of wide pants.
Interweave Press ISBN 0-934026-35-1
The Compleate Anachronist #70 - The World's Oldest Dance -The origins of Belly Dancing
Author: Karol Henderson Harding
The Topkapi Saray Museum - Costumes, embroideries and other textiles
Authors: Hulye Tezcan and Selma Delibas
Little, Brown & Company ISBN 0-8212-1634-1
The Gobi Home Companion
Beth Teck, aka Yllone Macnichol, aka Itegejin
A SCA type pamplet.
Cut My Cote
Dorothy K. Burnham, Textile Department
Royal Ontario Museum
Medieval Garments in the Mediterranean World
Veronika Gervers
Cloth and Clothing in Medival Europe
Essays in Memory of Professor E. M. Carus-Wilson
Heinemann Educational Books
The Pasold Research Fund Ltd.
Briganza le Voygeur
Accessories for Russian, Mongol and "Non-traditional" Ethnic Groups
Course Proceedings from Practicum A.S. 27 - Medieval Costuming Accessories
Customs of Middle Eastern Makeup and Decoration
Me'ira the Joyful Dancer
http://www.lpl.arizona.edu/-kimberly/medance/suppl/makeup.html
Facial Tattos
Rachelle Ibrahim
http://www.his.com/-jdalexa/v_d/arts.html#$tatoos
My adopted daughter Amy who has progressed beyond her teacher (me) is a wonderful dancer and drummer.
Murron (another adopted child) who dances well for the time she can spend in practice and is improvising with a recorder to add another element to our music.
Hamish who drums very well and endlessly for us. (He also dances but only in very small parties a pity he is very good)
There are a few others who have begun dance or drum classes.
Peace and Joy to our northern cousins
While perusing the Web, I stumbled upon the following sites that I thought you would want to know about.
There is a section on Bedouin Weaving and ground looms that I thought was fascinating and a Saudi Arabian site with a very informative article on
Tents of the Arabian desert. And I've included a web site with advice on how to keep your tent dry (some of us had to learn these rules the hard way!).
http://www.vdn.com/hilden/index.html #tents1
http://www.arab.net/saudi/culture/ sa_tents.html