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.
Tantum agendum, parvulus tempus
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.
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With this issue, we have included all the names and addresses of our subscribers so that you can contact people in your area. If anyone is upset by this, I'm sorry. The next issue should be out in April. I'd like to have more reports, plans, garb/costume designs, and history to include here, so keep those cards and letters coming!
This arrangement seems to be fairly popular, so we might try it again next year. What I'd like to know is, what improvements could we make.
During the first week of the War this year, it was my pleasure to host several of my friends for a hofla on nearly a nightly basis. Linnet came to visit from her camp on the Sarengeti, as well as Gerald and friend from up near merchant-ville (both of them are Aletha's apprentices.) We were also visited by various itinerant dancers and drummers from various parts of the Known Worlde.
One of the things I had time to do was build a dance-floor (carpet over sand) which got some use by one of the dance classes, but it never saw any further use throughout the war. Do we want such facilities in the future, or should I just forget about it?
Later in the War, we celebrated "Dur's-day" (David's idea) with the usual traveling drum-and-dance corps. It has been an honor to serve you as the "drum-major" both of the times that this has been granted to me. This year was a little bit rude (actually, it was a lot rude), with only one camp offering hospitality equal to the service we provided (as a large group). Even when we broke-up into smaller groups, the basic treatment was far below par for what I have expected in the past. I will be working on a solution to this problem for this year.
If you folks have an idea as how to improve this activity, I am all ears. Not only the drum and dance stuff, but facilities for classes and evening dance (hofla) sessions as well.
General Felling after Pennsic was that a good experience was had by all (especially for Su'ad, the lone Pennsic virgin), and we were impressed by the variety of good dancers there. We were also pretty nauseated by the "belly-bunnies" who think all they have to do is don a skimpy costume and bump and grind to perform "bellydancing." Our network list grew some, also, perhaps our most distant dancing neighbor was a German girl from Drachenwald who took my beginners class.
I, for one, greatly enjoyed the "Orluk Oasis" experience": definitely we need to be more organized next year, but we certainly got off to a good start. We had a lot of interest in the drumming and dancing classes; although I think next year we should advertise the teachers' experience along with the times and places. There were a few people of questionable ability who advertised dance classes this year. But all in all I think we could become the "hub" of Middle Eastern arts at Pennsic.
Oh, two other bits of gossip I forgot: Recently Suhad, Alexis, and I attended a "Hafli" put on by the Crescent Moon Dancers of Massachusetts. It was a three hour performance and party where we had the opportunity to network with non-Scadian dancers and see them perform.. The three of us tried out one of our First Night Hartford Numbers and got rave reviews. Su'ad and I also performed solos.
The first week of November our group will be attending "A Night at the Alhamlera," a belly dance seminar in Philadelphia where we'll have the opportunity to take classes from Bobby Farrah, Suhaila Salimpuor, Yousry Shariff, and Nagwa Sa'id. We're looking forward to the new experiences there.
Allahu Akbar
Several folks took exception (including the autocrat responsible for classes) to charges for dancing lessons this year. The basic opinion seemed to be formed around the concept that, "This is the SCA, and we should be freely giving of our expertise to others." While this is a noble concept, I would prefer to leave this as a matter of choice on the part of the instructor and student.
For instance, I am an amateur musician that likes to teach drumming. My payment has been the thanks and praises of my students (and no, Fungus, you don't have to keep calling me the "Drumming God of the East.") However, if this should become tedious, or if I feel that my time to do other things is more valuable, I would require some compensation to offset my loss.
On the other hand, several of you are professionals performers for whom the War is a (working) vacation. No less than the merchants selling various wares and/or services, you are selling your service to a specific buyer. Your marketing strategy is your own business (Free sample lessons followed by lessons that cost whatever the market will bear is not unreasonable.) You will get students that are prepared to accept what you have to offer at the going price.
I have already asked the class coordinator about this for the coming War. She doesn't care if or what you charge for classes. (Just be prepared to have to deal with the merchant-ocrat if you are selling anything above cost.)
On to the second issue. Imitation may be the sincerest form of flattery, but sometimes it corrupts the art it duplicates. When skilled performers present their art for the public, one hopes that the audience appreciates the effort.
Of course, this assumes that the audience knows what it is looking at. In most cases (at Pennsic), they have a distinctive burlesque western attitude (which is kind of like a non-fighter watching a tournament...they know it is a battle, but they don't have a fighter's appreciation of the finesse involved.) Often we are either "dancing for other dancers" or "doing the hootchy kootchy" based on the response I see in the audience.
Enter the imitator (or "belly-bunny.") With little (the average seems to be one lesson) or no training in traditional dance, they give their best shot at what they can do. This activity pleases the T&A crowd, but it makes any subsequent attempt at (serious) traditional effort fall short of the majority expectation. (Ever wonder why I never attended Sadie's belly-dance contests?)
So what happens? The "traditional" dancers feel that "their art" is insulted and then they stand around and condemn the "belly-bunnies". The imitators hear of this, and gripe about the un-approachable purists. It has become a Persian standoff...
So, what can we do? I would like to take each one of them aside and personally tell them that they show real potential (whether or not they truly do). Then, I would let them know that they could further improve their skills to really WOW their admirers by attending the classes that my friends are offering, right here at Pennsic. While I may not be a good judge of diamonds in the rough, if I never pick it up and try to make something of it, it will always be a stone in the road that I may bruise my heel upon each time I pass this way.
In the end, remember that we are still at the beginning of a new art within the Society. We are setting the tone and pace for the next generation of Eastern Arts and Cultures fan(atic)s, and as such, we bear the burden of proof of fitness to the rest of the Known Worlde.
Salaam, Durr
Another notebook contains a measure-by-measure breakdown that charts the rhythms, main instruments, melody changes, length of time, etc. of each piece of music I've used. This info is essential when creating choreography, and also helps organize improvisation.
Another consideration, when mixing and matching pieces of music for a "routine," is that the pieces should match not only in culture or origin (American, Greek, Egyptian, etc.), unless you're intentionally demonstrating a variety of bellydance styles, but also in key or modality. This automatically narrows down the choices available. It's best to use music from one album if you're not sure. And beware of dancing to folk music (Oulid Nail, Saudi) if you don't know that style; the safest bet is music that's specifically marketed for Oriental (cabaret) Dance. And I suggest that, unless you know the language, only dance to instrumental numbers.
After you put your music together, just be sure your total show flows logically, and the sound quality is clear and even throughout. Good luck!
Chuck also told me about the "Istanbul Tavern/Restaurant" in North Bergen NJ. I still haven't had the time to check this place out yet. This might be a good place to try for after event relaxation.
I found a tape that might interest some folks. "Arabesque" (Hearts of Space label) is various cuts from the popular public radio series. They classify it under "new age music" which really amazes me. It features various artists such as Al Gromer Khan, Minoo Javan, and Drachir Ztiworoh. Most of the works are nice and slow, perfect for those warm evenings when you want to relax with friends.
Here is an interesting way to play a seven-beat...
We all know Balladi, right?
Dum-dum tekka tek dum tekka tek (rest)now try dropping the tek like this....
Dum-dum tekka dum tekka tek (rest)Careful...sevens are addictive!
(I'm taking a class in music theory next semester. After that I might be able to score these for you. That and I need to find a way to do the scores on the computer.)
There now, Arrianna, I did this just for you!
We met some new faces from Black Rose (Harrisburg), one of whom was new to the SCA but a very good dancer. Unfortunately, I didn't get them on the list for V&D.
My apologies to all for the assumption (by the populous) that all assembled were "the Baron's Ladies." This embarrassed me as I felt that others perceived a form of "ownership" that our friendly association does not contain. My deepest apologies to any and all that are offended by this.
To preclude this same problem in the future I would recommend that we use the open household association of "Caravan of the Khan" that I have suggested in the past. This permits any wayfarer to join with us for any event as though they were traveling from any caravansary to another under the pretense of mutual travelers. If we let this be know, then others that are looking to learn more will be inclined to associate with us for a day without obligation on any part.
(When Bryan and Aleisa came to visit the Orluk Oasis (my home) for a little local event, they were traveling with such a caravan.)
March 20 Ice Dragon (I'd like to be there)
May 15 AEthelmearc War Practice (have invite to drum for Amabel's bachlorette party)
May 30 War of the Roses
August Pennsic
Did I mention that David is coming out with a new tape? Will we have some new
rhythms to thrill the dancers with?
Blanca has introduced me to "Uncle Mafufo" volume 1 and 2. These are an excellent resource for twenty different beats (some of which we have already on David's first tape.) In this tape he uses a variety of different drums which can be confusing when you are trying to pick out the beat. Other problems that I encountered is in the counting of the beat and then hearing something different on the tape.
Michael Beach's Basic Middle Easter Rhythms vol. I is much like David's first tape (it has a Bolero beat that David doesn't include.) This is an alternate to David's tape if you can't get his.
Dumbek Delight by Mary Ellen McDonald is for the serious drummer. This tape is accompanied by an instructional book that is first rate. Lots of variations and drills which are good for developing consistent technique.
I'm sorry, but I don't have any information on where you can get these tapes (except for David's). Try your local bellydance supplier or other trade journals.
In this issue we hear from several sources, and have lots of announcements for you.
For the time, David is still in his corner...but there is something there!
Announcing the formation of the Middle-Eastern Dance Co-operative of the East Kingdom!! Our first organizational meeting will be at the Central Region Arts Pentathlon (and the second meeting may be at the Dance Seminar in State College).
Our mission is the establishment of this cooperative to:
For additional information, contact Su'ad or Farasha at
Nithgaard extends and invitation to all to joins us for a weekend of heroic conquest and celebration. At the Warlord Tourney, fighters will have their annual chance to win the crown of King Under the Mountain and to preside over this years feasting. There will also be our annual jugging tournament (inspired by "The Blood of Heroes"). Prizes will be awarded in silver coin.
Fencing and archery will take place as well.
There will be an Arts and Science Contest, with a Viking theme. Prizes will be awarded to worthy entries for the categories of textiles, metalworking, and food/drink. Send a SASE for details. Merchants and minstrels are welcome - please contact the Autocrat in advance if possible. Pets are welcome.
Lady Phillipia Cupbreaker will serve the traditional Feast, with one or two removes, on Saturday evening. The feast will include Roast Beast and vegetarian dishes. Bring candles so you can see you food. Seating is in The Hall Under the Mountain (a real cave, cold and damp) or in the Rec. Hall (warmer). Please specify your choice! The feast is limited to 125, so send in reservations early. Alcohol is allowed on the site, for persons of legal drinking age only. There will be a bonfire after the feast, weather permitting.
Event Fees: On Board: $7 until May 15, $9 after (Children under 12 are 1/2 price) Off Board: 1$ In addition to the on or off board fee, all attendees will pay a site fee or camping fee to Woodward Cave at the troll. Day only site fee $2 OR camping one night $4 OR camping 2 nights $6 (per person)
Those with dietary restrictions, entertainers, merchants, and those wishing further information may contact the Autocrat, Ragnhild. (Claire Rutiser 1952 Highland Dr. State College, Pa 16803. 814-867-8678 before 10pm, please. email: car@ecl.psu.edu.) Fighters interested in the jugging should send an SASE for a copy of the rules.
Directions: Woodward Cave (no street address) is located off PA Route 45, between State College and Lewisburg. Take your best route to PA 45. From Interstate 80, take exit 33 toward Danville, then take 45 south to Lewisburg. Follow 45 to the town of Woodward, then follow the signs to Woodward Cave and Campground.
(Ed note: This event is local to me...if you're doing the off-board thing, let's get together for dinner.)
The 13th Afternoon Feast at St. Swithin's Bog included featured performances by their local dance troupe (their leader has been to some of Aletha's seminars). This included two set pieces, one of "ancient Egyptian" origin (the costumes where "G" rated) and another of "Ghwazia street dancers".
Our dance workshop is on Saturday, April 24 1992 form 1-4 PM (REAL TIME, not
SCAdian). The class will be taught by Tahya, a professional dancer with nearly
twenty years of experience in both cabaret and ethnic dance. Her style appeals
to me because she is very graceful. The class will be in three sections.
First an introduction to lovely movements that can be done with the arms,
wrists and fingers. Second will be choreography for a classic Lebanese
Orientale dance set to the music of Marcel Khalifa. (Oriental dance defined as
dance based on ethnic moves without Hollywood cabaret, ballet, etc. added).
Third will be on hip articulation, reviewing several hip isolations and
combinations including stationary and traveling steps.The Cost will be $25.00 in advance, $30.00 at the door. The class will be held in the Dancer's Workshop which has mirrors and a wooden floor. However, space is limited so the class will be restricted to 22 participants. (No observers.) Check or money order is needed to guarantee a space. No refund for last minute cancellations unless the class fills up. Anyone thinking of showing up at the door should call me the night before to verify that space is available. If they call me Thursday before the class, I will give them the $25 rate. (I need 16 just to cover costs at this price. Normal cast for a three hour workshop is $30 to $40). If less than 16 show up, the class will be shortened accordingly.
I will provide some light refreshment at break. Afterwards, I was thinking of making reservations at a restaurant for anyone who wants to go out to eat. I don't know if I can find a private room where we could also dance for ourselves. Crash space is available with our local dancers.
The Dancer's Workshop is on Second St. in Harrisburg, next to the Governor's Mansion. It is pretty easy to find. I'll send a map later.
Interested parties should contact me:
Lady Diana of Greenwood (Diane Hanse)PS. About six of us will be at the Beirut Restaurant in Allentown on Feb. 27 for dinner. Tahya and Omar will be performing. People are welcome to join us but they need to make a reservation. (PH 215-437-4023, address is 651 Union Blvd. ,Allentown PA). The should mention that they are coming to see Tahya to get good seats.
The cost for this little happening is not set yet, but it will be less than $5. This is not an SCA event, so both mundane and SCA folk are invited.
Thus far, Su'ad, Gisele ,Gwen, Seabhac, and Diane of Greenwood have indicated that they will come and teach dance, and I will be doing the beginning and intermediate drumming instruction.
Classes will start at around 10 am and run till 5 PM. Bring a lunch (or you could get lunch at any of several vendors in the mall). Feast will be served at around 6pm at my home (it will include a variety of vegetarian and meat dishes, so no-one should be hungry). Weather permitting, there will be a bonfire...
For information (and crash space) call
Baron Dur 814-355-8928
Laurena Mouchot 814-867-8291
What I am looking for, in particular, is a well-researched survey of what is and isn't known about Eastern dance in period. The subject seems to be poorly understood in most of the Society, with many people believing either that modern cabaret dancing is entirely period, or that Eastern dance is entirely out of period. The Letter reaches a large fraction of the dancers of the Society, so this is a great opportunity to foster a little more understanding between the court dance and Eastern dance crowds. Length is negotiable; if I get a good, long article, I am entirely willing to serialize it.
If you are interested, please call or write me at:
Justin du CoeurMarch 6 Central Region Arts Pentathlon in Wallingford CT. The first meeting of the Mid-East Dance Co-op will be here. (Su'ad, Farasha, Gisele, Avril)
March 20 Dance Seminar in State College PA. The second meeting of the Mid-East Dance Co-op will be here.(Su'ad, Diane of Greenwood, Gisele, Avril, Seabhac, Dur)
April 24 .. Dance Seminar in Harrisburg PA. (Diane of Greenwood)
May 22 AEthelmearc War Practice (Dur)
May 22 Arabian Event in Philadelphia PA (Bryan, Alesia)
May 30 War of the Roses (Dur)
August Pennsic (Everybody!)
There now, Arianna, I did another one just for you!
I also felt that their patter during the show- some of which sounded prearranged- enhanced the mood they were trying to create. However, their campy middle eastern accents sounded fake to me; they distracted from the mood rather than enhancing it. All carping aside, though, I came away with boatloads of moves I want to use, ideas for costumes, and techniques I want to try. (I never thought that an audience would find a dancer with a bowl on her head very exciting. Boy, was I wrong.) Anyway, after that inspiration, I'm really looking forward to Rikasa in March.
This will be an Arabic theme event (Bryan is cooking the feast) autocrated by Aliesa. More information will be posted as it comes available, or you should call them at:
Bryan MacDhunghaillan BoghadairNote that the dateline says April and here it is April; we're on schedule now. I rushed this issue to press so that your could be brought up to date on pending seminars and workshops.
In this issue we hear from several sources, and have lots of announcements for you. The next issue will be dedicated to Pennsic and other such fun things.
For the time, David is still in his corner.
Dear Editor,
Thanks for bringing up the subject of charging for classes at Pennsic. I am the teacher in question and I'd like to use your newsletter as a forum to explain "what and why" to our belly dance community, and I hope to hear what others think about it.
Early last year, several months prior to Pennsic, I sent a proposal to teach four mini-workshops on different aspects of belly dance, of particular interest to SCA dancers. I love the dance, and I'd love to see others benefit from my experience so I spend most of my time, and a lot of energy and money developing my skills as a teacher and performer. This is my profession (I've studied and trained), career (it supports me and my daughters), and hobby (I even do it for fun).
I had about 25 people show up for my first class at Pennsic. They were still arriving when the autocrat came, at one minute to class time and told me that I couldn't charge $5, and that our arrangements to use the bathhouse were negated then and for the rest of the week. She "couldn't remember: why I couldn't use the space. These arrangements had been made in detail months before and to say I was stunned is not putting it too strongly. Dealing with this disappointment was bad enough, but the autocrat seemed actually angry. What a bummer.
I did eventually (when I recovered somewhat) hold several classes at our camp in the Orluk Oasis, and I commend the students who made the trek down there for their persistence (and many thanks to Baron Dur, Aletha, and Gisele for your help). It was the loss of the quiet indoor space and level floor that really hurt, but the sandy space that Dur provided was better than grass or bare ground. I cut the class to an hour, focused on "follow me" combinations, and charged the officially regulated $2 for the handouts, although some students did give more each time they came.
As for next Pennsic, why should I trust what the coordinators are saying now? Last year at this time, it was "all systems go" too. The autocrat blamed the last minute reversal on "some of the teachers."
THAT WAS "WHAT;" HERE'S "WHY."
If you were at Pennsic and read my orange flyers or obtained my hand-outs, you have some idea of the material I was planning to teach, "for $5 or barter." I'm an educator-I like to see people learn. I charged that much in part to ensure that I'd have only seriously interested students. Looking down the list of Pennsic classes, a $5 fee doesn't stand out as exorbitant. Why is it acceptable in exchange for material goods but not the transfer of knowledge by an experienced teacher? And I'm not a "passive instructor"-I give feedback and correct individual mistakes-something a student doesn't get when they purchase a video. But were other teachers complaining about selling of instructional video's "above cost?" How can this inconsistency be explained?
As any conscientious teach can imagine, I had spent hours and hours preparing this particular material to relate it to SCA dancers. As I told the autocrat, having dance class outside at the war is like having calligraphy class on the (hay) wagon. Evidently, that was just our tough luck.
I didn't find this attitude consistent with the oft-quoted phrase, "The SCA is an educational organization." Given the cavalier treatment I and my students received, that sounds like so much BS to me. This lack of respect for a learning situation is both hypocritical and inauthentic on the part of those who should know better.
Any artist or teacher trying to make a living at what they do will relate to my dislike of lowering fees for no good reason; and frankly, I feel the same about the $2 fee for an intensive 2-hour class as I feel about someone putting only $1 in my costume; No Comment.
Finally! I am writing to you and sending you the Pennsic address list along with my mundane dance resume and my bibliography and a rebuttal/explanation to your editorial on Professionalism. Especially since Atesh and I are mentioned (without naming us). Also enclosed is a flyer for an upcoming seminar.
Point 1) Charging for classes at SCA Events: I have attained my fairly extensive knowledge of Middle Eastern Dance at a substantial financial cost. I have attended over 60 dance seminars since 1984. The average cost of such a seminar is $50.00 (as low as $35.00 and as high as $100.00 for a 2 day seminar). Then you include hotel costs, food, gas and car care. This adds up to approximately $15,000.00 that I can prove I have spent. This does not include costuming, video or audio costs or books purchased. If I were to add these costs to the seminar costs, the amount would double to $30,000.00 (again I can prove these costs). However, since 1990 I have been able to deduct these costs since I claim income form teaching, video sales, and dance-grams. But not before 1990. So I suppose from 1984 to 1990 I have spent about $21,000.00 to augment my knowledge on this dance form (about $3,000.00 per year). Is it not fair then to ask for some compensation for my sharing my acquired knowledge? Even in the SCA setting? Yes and no. It truly should be between instructor and the students.
I have a full-time job at a Medical facility. I only augment my income with dance, and basically the income balances the outgo (seminars, costumes, beads, audio, video and research books). Dance is not my living. However, others of us, (the truly professional dancer), the dance is their only means of support. Therefore, they should be charging for their knowledge of this dance form. I know I have no qualms about paying for new material. At my technical level I pay $35.00 to $100.00 for maybe 3 new moves or combinations and feel like I've gotten my money's worth.
I teach for free at SCA events for two reasons: I truly enjoy it and to let potential students know I have instructional videos for sale. This year at Pennsic I took orders for more videos than I thought I would, so at Pennsic 1993, I am vending my videos through a merchant so that I satisfy the Pennsic Merchantocrat. I charge for my videos for 2 reasons: 1) the amount of time I have spent refining my teaching skills; and 2) the amount of time and forethought that went into each video. As I only charge $25.00 per video compared to $40.00 to $65.00 that other instructors charge that professional produce their own videos, I feel that I am trying to keep costs down for those who cannot afford it, yet provide good quality instructions. I feel that my videos are as good if not better in some ways to the professionally produced videos that I have seen.
Point 2) The "Belly Bunny." As a mundane professional and SCA Laurel in Middle Eastern Dance I have no problem with beginners dancing in public at all. As a matter of fact I encourage beginners to get dancing as soon as possible (using good posture and good taste). however, I do have a major problem with "dancers" who dance as though they are f--king on the floor doggie-style with a man behind them an call it Belly Dance. I am majorly offended and will refuse to perform after such a spectacle! This dance form is my spiritual outlet, a dance for the Goddess in all of us. I loathe to see this dance form degraded in such an obscene manner. I try not to put down untrained belly dancers who dance for the enjoyment of the dance, only for those who use this dance form to advertise their wares in a lewd and obscene manner.
I hope that I have chosen my words carefully and that you understand how I feel about charging for lessons and the obscene dancer. If any of you wish to write me or ask any questions, please write or call me.
I remain,
Viscountess Mistress Alethea bint Fahd ibn Acktar
(Adryana goes on at this point to cover information of other dance groups...all of this information is included in another column of this news letter.)
(Ed Note: Both letters are reprinted with spelling corrections only. My thanks to both Atesh and Alethea for speaking up on these issues. Alethea's flyer was lovely, but it featured a seminar for 14 March. If I get flyers that cover events after press time, I will try to include them.)
(Persian for Morning Dew Angel)
Gale M. Gunter-Schultz
I began learning Middle Eastern Dance in 1978 and began teaching in 1982 in Savannah GA continued to teach in Gainesville FL and am currently teaching through the Richmond County Recreation Department in Augusta GA. I have performed "Belly Grams" in Savannah, Gainesville, Augusta, and Jacksonville and have been doing so since 1980 for various companies, ethnic groups or by referrals. I have taught at local seminars in Jacksonville FL with Julianne, in Gainesville with Jamira Sherean, and in Augusta GA. I have taught seminars for the Beledi Club in Huntsville AL in September 1991, for Kaharaman in Greensboro NC in June 1992, and for Suzanne in Lexington KY in January 1993. I am currently available as a seminar instructor and/or performer. You are welcome to contact the Beledi Club, Kaharaman, or Suzanne for a recommendation and opinions.
My seminar class consists of slow warm-ups and basic isolations, The basics can then be followed by:
I have attended over 60 Middle Eastern Dance Seminars since 1984 featuring internationally known instructors and performers. I specialize in isolation, shimmy, and veil techniques; ethnic dance; and Middle Eastern Dance History. I am also director/choreographer for Mirage and Veils of the Desert Middle Eastern Dancers.
The 1993 Balkan Music and Dance Workshops featuring stuff from Albania, Bosnia, Bulgaria, Croatia, Greece, Macedonia, Romania, and Serbia. Great food, beautiful setting, dancing until 4 AM in the morning. I'm enclosing a sample registration form.
June 26 - July 4 in Mendocino, California (North of San Francisco). $410 or $65 per day if you go for part of the time.
July 25 - August 1 in Buffalo Gap West Virginia. Special celebration of Albanian, Macedonian, and Rom (Gypsy) Music and dance + the usual program. $425 or $70 per day part time.
I'll forward information regarding Near Eastern Music Camp in Mendocino (the week after Pennsic), Desert Dance Festival in San Jose during September, and next year's Rikkasa in Richmond California (10 minutes from me!) March 1994 as I get it.
I'd like to test the waters regarding things at Pennsic this year. Would anybody be interested in learning to sing some songs in Turkish, Arabic, or Hebrew? How about a Daff (Tambourine) Class? Would tapes of regional music (Morocco through Afghanistan) or any new music books be appreciated? Please let me know before it's time to pack.
Lauraina ran through the warm-ups and the Phillipia told tales of her life in Turkey. Suaad provided instruction on veil work as well as several combos. Gisele covered more combos and solutions to costume failures (what to do when Erin goes Braless in the middle of the set.) Alexis provided (loose) moral(s) support. Adryana presented many tips on costuming (looking like a million on a budget). Dur taught some drumming and cooked the feast (way too much food!) After the instruction portion of the seminar, Suaad chaired the (second) meeting of the Middle Eastern Dance Coop and explained the purpose and aims of the organization.
After the feast, there was much dancing and more drumming (instruction), We even tried to run four rhythms at once, and it worked! (Beladi, Masmouti, Ghadwazi, and Serto)
At the regular practice the following day, all the students that were able to attend the seminar said that they had really enjoyed the day. All of the instructors seemed pleased as well, so I would declare this first Orluk Oasis seminar a success.
The Greater Pittsburgh area MEDA is new as of the first of the year, so I cannot give any details about it. However, the Vice-President has personally sponsored at least 3 seminars in Pittsburgh, complete with evening shows. So I'm sure her experience will benefit any GPMEDA productions.
And, at the risk of repeating an organization that many dancers may have already heard of WAMEDA (Washington Area Middle Eastern Dance Assn.) is another good way to stay in tune. WAMEDA also brings in top-notch dance instructors, publishes a member's newsletter and maintains a lending library.
Of course, having your name on any of these mailing lists can also bring you notices of other seminars and workshops, as at least some groups offer or sell their mailing lists.
If we do the Oasis, do we want classes there too? I got luck last year and had some sand delivered to smooth out some of the bumps, but that took several hours of work to set up. Other things to consider: What classes or workshops should we offer? Should this be under the auspices of the Middle Eastern Dance Coop?
For those who were not at the oasis last year, it is truly fashioned after the kasbah style of living. We grow out from the Tower, down the road as folks arrive. This is not an organized camp, as I expect all to be responsible for themselves (which is not to say that we don't work together on things; just no formal plan or organization is imposed. It is more like family than anything else.) Lets hear from folks who are really interested in doing it again this year.
Also instructing at this university was his lovely lady (whom I had met many years ago before either of us had become famous by association with Chengir) Kathira umm Rashid. She tells me of their home in Samarkhand in the lands of Transoxiana. She is also a fantastic source for non-dancing garb for both men and women of al-Islam! As I was teaching much of the day, I was not able to attend the class that she had prepared for the University. Out of kindness, she sent me a copy of the class hand-outs, for which I am indebted.
Both Chengir and Kathira will be at the Æthelmearc War Practice, and I hope we can encourage them to conduct an impromptu class on more Arabic garb. (Kathira has mentioned her distress at the appearance of "those who just `do Arabic' at Pennsic because it's cooler and they like running around half naked in harem garb!") I would also like to invite them to have their own column in V&D to enlighten many of us further in any and all aspects of Islamic culture and persona.
Chengir abu ben Said- David Woodruff
I must say that I find your interest in dance...provocative, Effendi. But perhaps it is different in your lands? The traditions have it that the companions of the Prophet claimed that the only music he would permit was the chanted recitation of the Koran. But of course our view of that is permitted as music has changed, for how can the voice of a man (surely a gift of Allah) be considered immoral?
But as to the dance, I can see no way around the Prophet's injunction of this. That is not to say that such a thing does not exist! (Praise be to Allah, the Compassionate!) Truly I tell you that in Khwarazm there are many highly trained dancers, but there are some restrictions. Our Shah (May Allah be pleased with him.), has forbidden the dancing of boys, for this is considered unseemly and not a pleasure in the eyes of Allah. The second restriction is that no free woman may be taught to dance.
Thus it is that the dancers of Khwarazm are slave women all. This is not to say that to be a slave is not an honorable profession, Allah command that this not be so! Many of the unbelieving Hindi have sold themselves into my own care in order to avoid the wicked practices of the priest of the djinn called Kali. For is it not better to be a slave among the Moslems, then to have your heart torn form your body while it still beats in your breast? Is it not also the duty of all masters to impart to those in their care a skill? Who could be forgiven for freeing a slave who has not the skill to make a good living in the world of free men?
So it is that all those who I have bought from their families have been taught singing, dancing and the making of fine things. Thus it is that there are some free women with a skill at dancing, for is it not virtuous to free slaves? This would not, however, be a skill that any free woman would display in public (Allah Forbid!). There are also some men who practice the art of dancing, but these are dervishes and men of the highest morals and faith. Who could question such? Naturally these dances are not seen by the uninitiated and their activities are strictly limited to the brotherhood of the Sufi.
Perhaps you have heard the tale of Abu Hassan the Yeminite? Now it was said that he owned six slave girls, as beauteous as moons one and all, the first one white, the second brown, the third ripe, the fourth lean, the fifth yellow, and the sixth lamp black; all six were comely of countenance and perfect in accomplishments as they were skilled in song and dance. Now it chanced that one day Abu Hassan sent for the girls and called for meat and drink. The ate and drank the mint of the Persian and with mirthful and made merry. Then Abu Hassan filled his cup and taking it in his hand said to the blond girl, "O fair one of the moon, show us your grace."
The others took up their instruments, and as she danced, they sang these words:
I have a friend, whose form is fixed within my eyes, Whose name deep buried in my heat lies, When I remember him my mind is all heart am I, And when on him my gaze is turned I am all eyes, My fellows says to me: "forget the love of him," "What is not to be, how shall it be" my reply is, Quoth I, "O friends, go forth from me, away And make not light of what on heart heavy lies."Hearing this their master rejoiced and, drinking from his cup, gave the damsels to drink, after which he said to the berry brown girl, "O joy brassier light, let us see you alight the floor, where all that see be ravished with delight." There upon she did take to the harmony of the song and moved to its beat, captivating all hearts with her graceful swaying.
And Abu Hassan rejoiced and drank of his cup, gave the girls to drink, after which he signaled to the ripe girl to dance a different motif. May Allah be my witness that this woman, full as a ripe pomegranate tree danced a grief dispelling measure, one to fill the heart with life and joy.
Abu Hassan was filled with joy at this, his pleasure mighty and he drank from his cup, gave to the damsels to drink, after which he signaled to the thin girl saying: "O Houri of Paradise, feed thou our eyes with your sweet movements" and as she danced her companions sang these words:
Say to me, on Allah's path, that death be not dealt to me, Turning from me while I to you turn patiently, Say to me, is there no judge of Love to judge us so, And do me justice wronged, mine enemy, by you?Their lord rejoiced and filling his cup again, gave the girls to drink from it. He signed to the yellow girl and said to her: "O sun of the day, light us with your graceful movements." This said she moved before them with the beauty of the sun upon the waters of the ocean. She kept nothing from him, showing her skills of grace as if a gift of the sunlight upon a bright pool.
Again their master rejoiced and drank and gave the girls to drink and said at last to the black girl: "O pupil of my eye, let us have a taste of your fine quality, though it be but two steps before us." And she proceeded before them, preluding moves in various modes, then returned to the first, moving as if the very night herself.
Thereupon rose the six girls and, kissing the ground before their Siddi, said to him, "Do justice between us, O our master!" So he looked at their beauty and loveliness and the contrast of their colors and praised Allah and glorified Him. Then said he: "There is none of you but has learned from the Koran by heart and mastered the art of movement with grace and beauty and is versed in the chronicles of your and the doings of peoples which have gone before; so it is that I cannot decide between you as to who is the finest, so we will just have to begin again."
Upon hearing this the girls sprang forth in joy and delight and they spent the night in merry making and were glad of it.
We cordially invite all Dancers, Musicians and Entertainers to perform during the day and evening. We would like to hold a Middle Eastern Dance contest with the judgeships to be raffled off. Proceeds of the raffle will be allocated to the Chirurgeonate of the East. If you would like to participate during the day or in the contest, please call the autocrats so we can get an idea of how many dancers to expect. Drummers and musicians are also most cordially invited. Storytellers would also be most welcome. There will be an arts display during the day. The theme is Middle Eastern, but all are welcome to display their talents. There will also be dancing in the evening. Dinner will be early to allow for a greater amount of dancing in the evening. (Did I mention that there would be dancing?)
The feast will be of delightful Middle Eastern fare in two courses. Be aware that we are encouraging traditional Middle Eastern seating, so bring your cushions, camel saddles and carpets. Western style seating can be arranged for those who need it. Vegetarians are, as always, most fruitfully provided for. Off board includes beverages and desserts. Food allergies can be accommodated with prior notice. The site is BONE-DRY as is required by the written law.
Merchants are most welcome but space is very limited. Please contact an autocrat to arrange for space. Unfortunately purveyors of food and drink cannot be accommodated at this site. Prices are as follows: $12 on board, $6 off board, $3 outboard. On board will be limited to 80 and off board to 16. Make checks payable to "SCA Inc.-Barony of Bhakail." The Autocrats are Bryan the Archer and Alesia de Maris (Brian and Patti Toland 53 Llanfair Rd Apt L, Ardmore PA 19003 896-8972) Please call before 10 PM.
A flyer with directions is available from the Autocrat.
Let one belly dancer into your group...and soon every one is humming Middle Eastern music. Well, hop aboard your magic carpet and come to where the Middle East meets southwestern PA. We invite all to enjoy a weekend that would delight Sinbad and provide Sheherazade with enough material for 1,000 more stories. Rumor has it that the palace gates will be under attack by infidels eager to breach the harem walls in hopes of snaring a beautiful harem maiden. Beseech Allah that the invaders do not plunder and destroy the exotic Persian bazaar, newly stocked by recently arriving caravans. Surely, all fighting will be subdued by late evening, so an enticing Middle Eastern Feast may be served. Ah, and after the feast, belly dancers with their beauty, music, and dancing will soothe the wounds and ease the weariness of our valiant fighters.
The site opens at 4 PM Friday at the Johnstown Saddle Club on Saddle Club Road. Site fee is $13 per person, which includes breakfast, lunch and feast on Saturday and brunch on Sunday. Food will be palatable and "recognizable"-and will accommodate vegetarians. Children under 12 will be admitted free. No reduced fee for off-board. Site fee does include camping with shower facilities.
There will be martial events (heavy list, fencing, and archery) in keeping with the theme of the event.
For non-fighters, classes on Middle Eastern dance and other Middle Eastern Topics will be scheduled throughout the day. If you would like to share your talent, skill, or knowledge, we welcome you! And of course, no Middle Eastern city would be complete without a bazaar. While not exactly situated at a caravan crossing, this site will surely find wares for all buyers, and buyers of all wares. Dancers, bring your unwanted materials and costumes for a swap meet. Several children's activities have been planned, however, this is not day-long baby-sitting. Musicians and dancers who wish to entertain after feast are invited to call the autocrat to register.
All are invited to the Sunday Demo. Merchants are particularly asked to stay to add to the atmosphere (and perhaps their purses). An arts and science exhibit will be set up to showcase the talents of those attending. Since the A&S exhibit will be part of the demo, exhibitors are asked to register by Saturday noon so we may be sure to allot enough space to do your piece justice. The demo will end at 4 PM and the site closes at 5 PM.
Contact Adryana, prior to 9:30 PM (814-539-0924) to reserve merchant or A&S space, volunteer to teach a class, or entertain. Praise Allah, the scribe takes wondrous messages if you will leave them.
Suddenly I receive information on the Gypsy Camp from Ciré Faolan of the Gypsy tribe Winged Wolf! The following is excerpted from the newsletter she sent me:
...let me tell you a little about my ideas for the camp. I would like this to be known as "everyone's" gypsy camp, not my gypsy camp. That means I want input and ideas from everyone who is interested in participating. I am willing to do the organizing and paperwork, but I don't want to do it "all by myself"!! Pennsic is my only vacation, and I want to have fun, too!
The major thought behind this is the Society phrase ending "as it should have been." Historically, Gypsies have been a shunned and persecuted group of people, no welcome in most countries. I would like to see the Gypsies as the "should have been", a group of colorful, fun-loving, merchants, entertainers, horse-dealers, and caravaners who brought good and news from all over the "know world."
That's my outlook and attitude for a camp. Ideally, I would like to see a colorful gypsy camp with pavilions, gypsy wagons, etc. But, I am a realist, and I think that a lot of the good theme camps, not only had the accessories to carry out their camp, but it was also the atmosphere created by their attitude and "role-playing."
As much as I hope to not only have my pavilion finished by next year, but also a "gypsy wagon" done, in reality, I will settle for my standard tent & dining fly (with added banners, etc.) I will expect no more from anyone else except to try to do it in a way to create the atmosphere of a gypsy camp.
I don't want to see the camp limited to only gypsy persona, as there are gypsies out there who have non-gypsy spouses and partners. For example, there is a "bard" with a Celtic persona who has asked to camp/travel with our gypsy band at Pennsic next year. How could I refuse our camp our own bard? Gypsy or no? I only want to be sure that the non-gypsies will enjoy our camp and help lend to the atmosphere. Not a lot to ask, do you think?
Please let me know what you all out there think!! What are your personal visions of a gypsy camp? How do you envision a gypsy camp? What would you like to see, or not see? I need YOUR input to be successful.
Cireainna FaolanSorriah (cash donation), Laurysand (stamps), Ciré Faolen (stamps), Neefa (stamps), Mikhail (artwork), Tauna (stamps), Celeste (stamps and cash donation), Shandra (cash), Cyl Maljan (stamps), and all the articles that you see in the newsletter (under their author's names). My personal thanks to you all for helping this effort continue.
The AEthelmearc War Practice (BMDL) was another opportunity to meet and drum with friends. Donnalin dressed up in one of my pairs of pants and stuffed a pillow in front and danced through feast. For all the world, he looked like the Pasha of Basra. The Princess was aghast at the silliness of it all.
War of the Roses was not well attended (Gisele, Farasha, Dinsdale, Rennata, and myself), and we couldn't seem to get together for much of the days that we were there. Some dancing and drumming (I taught class again) was done, but mostly on a catch-as-catch-can basis.
Hall of the Mountain King was a real bust this year. Only one dance of caliber and NO DRUMMING! However, I did meet Redwolf, on of the matriarchs of Rolling Thunder who has moved into the area.
Seems that (without other musical instruments) our rhythmic presentation rapidly becomes monotonous and annoying to many listeners. I'm sure that sometimes the dancers feel the same way. What we need to do is work on both quantity and quality to improve the appeal to our audience.
It is easy to understand how a solid hour of full volume belladi can become a source of annoyance. Beginning drummers need to learn how to make smooth transitions between various patterns and some dynamic control of volume. This should be part of the initial training pattern. As drummers progress, they should learn how to mix various patterns (like Asha's Serrto-Belladi combination, two measures of each and repeat.) Continue development with learning other techniques (finger-rolls, snaps, pops, clicks) and seek out new patterns to use (I have presented at least one variation/conversion of Belladi-to-Laz that I created here in the newsletter.)
Other comments reflect on the duration of some of the music sets. While 5 minutes may not seem long to some, it can be an eternity to others. Limiting the individual sets to a few minutes and then varying the tempo or dynamics as well as the rhythm pattern can go a long way to keeping a set from becoming boring. Then, we still need to break the sets up with a little silence just to give the audience time to recover (as well as the dancers.)
As most of us are aware, the Outlands folks are famous for drumming and dancing. At Pennsic XX, I attended one of their evening festivals where I found that they intermingled sets of drumming and dancing with breaks for other entertainers (story-tellers, songs, etc.) This example is one that we should probably use as a guide for our presentations at events.
So, my next question is: What dancer etiquette is there to be observed? Comments on this editorial (shudder, I remember what the last one brought out) as well as letters on dancer etiquette are invited.
Salaam...
Durr ish-Jabal
June 26 Arabian Event in Philadelphia (Bryan MacDhunghaillan Boghadair)
July 17 Arabian Night's Dream in Johnstown PA (Adryana)
August Pennsic (Everybody!)
September 12 Drum and Dance workshop in Pittsburgh (Cyl Maljan)
October 16 Day and Night in the Harem in Charleston WV (Gliadrachan Redfearne)
2 1/2 cups water
1 cup vinegar (Red Wine works best)
Lots of fresh mint or Lemon Balm (dried will do)
Bring the water and sugar to a boil. Add the vinegar and reduce the heat to simmer for 20 minutes or so. Remove from heat and insert sprigs of mint into the pan.
To serve, cut with water to taste (a little grated cucumber can be added.)
This drink is very refreshing, and I recommend that it be on hand wherever you are dancing.
I enjoyed the dance seminar (back in March), and am very interested in hearing about future activities like that. I can't make a definite attendance commitment as I also try to hit 4 - 6 mundane dance seminars each year. And, so far this year, there are lots of great teachers to look forward to. I was happy to share costume tips--though granted they definitely aren't SCAdian.
Although you've already seen our shire's event write-up (Arabian Nights Dream and Demo), there are a few additions -- most notably being an Arts & Sciences officers meeting and the attendance of the Prince and Princess (of Æthelmearc). (Please see last issue for the write-up, and write to Adryana for an event flyer.)
After reading the comments about dancing and classes at Pennsic, I would like to offer a suggestion. In keeping with the educational focus of the M.E. Dance Co-op, lets have a dance program during the day. Granted, dancing around a campfire has a certain mystique. Anyone who has done it can vouch for the fact that it has certain pitfalls as well. In order to overcome the really obvious hazards (fire damage, danger of falling when you can't see the terrain) and "to shed a little light" on how artistic and respectable M.E. Dancing can be, the dancers should have the opportunity to showcase their efforts and their costumes in the light of day. I also think this would help reduce the "hoochy-kootch" stigma. Why wait until it's dark, cold, and late -- when everyone is tired, sleepy, or drunk -- to put on our exotic make-up and dance finery. Let's offer our audiences a broader appeal than at one camp's fire. Let's go public and pull out the dance props, get some troupes presented, and act like what we do is deserving of respect and attention! Obviously, we won't be able to educate every single person -- but at least a few more onlookers will be able to distinguish Middle Eastern dancers from the bump-and-grind imitators.
I'd also like to see sessions on costuming -- what's period and what's not. I know that I certainly don't have period garb -- and I'm not really sure I even like period garb. But at least let's give people ideas on how to adapt cabaret so it at least looks "pseudo-ethnic."
Oops, sorry. It's so easy to get into proselytizing once I'm on my soap box. Anyway, given some recent V&D editorials, I'm sure you catch my drift. And of course, what's to say we wait for Pennsic. Why not try out a warm-up act at War Practice?
Moving right along...Would you share the recipe for the mint drink you made for the mini-seminar? My mint is starting to do it's thing and I would like to see if this would be feasible to do as a beverage for our July event.
And thanks for the dinner! Was a shame I wasn't able to enjoy everyone's company longer. Do appreciate your hospitality!
Adryana and I talked some more at the War Practice about doing day-light shows at Pennsic. We should try to do two or three this year (during the last week of Pennsic). Adryana will be the contact person (and maybe the coordinator) for this effort.
The first subject deals with the question of whether (or what) to charge for classes at an official SCA event.
I have been a Mid-East dancer/teacher since 1980; I also have a full-time job at a New Jersey university. I, too, have spent a considerable sum on lessons, workshops, seminars, costuming and other dance resources. I have been attending the War since Pennsic XI. Over the years, as classes at the War became more formally organized, I have been regularly asked to teach at the War. I usually teach a class called Fundamentals of Middle Eastern Dance (or Belly Dance-101). I derive a lot of pleasure and enjoyment from opening up the world of Mid-East dance to beginner dancers and watching their excitement as the explore some of the dance foundations (and discover the CAN do it!)
I don't charge for classes that I teach at Pennsic, or any other official SCA sponsored event. There are several reasons why. To put is simply, as Mistress Alethea stated in her letter: I truly enjoy it. It brings me great joy to share this knowledge with those in the SCA who are eager to learn.
But beyond that, I believe it is important to recognize the circumstance in which we are sharing this knowledge. The SCA is a non-profit, educational organization and is basically supported and upheld by volunteers. I volunteer my teaching services as other members who support the mission of the Society donate their various talents. It seems to me that to charge for a class being sponsored by a non-profit group like the SCA undermines the spirit of volunteerism which sustains it.
I think it also sets a troubling precedent so far as the Pennsic classes, which have traditionally been free to those attending the War (except for a small amount charged for materials). If dance teachers feel justified in requiring a fee for instruction, why not calligraphy or costuming teachers? Some of them also make a mundane living from their art, as many dancers do, yet they uphold the Pennsic practice of sharing their artistic talents at the war for free.
If teachers begin to demand payment for teaching in the SCA, there could well come a tie when no-one is willing to share knowledge without a price. Where, then, does that leave the student who would like to sample many diverse arts at the War -- but can't afford even $5 for a class. Many SCA members are young or living on a shoestring. Would you turn them away if they couldn't pay?
Teaching outside of the Society is an entirely different matter. No professional teacher, SCA or otherwise, should be expected to teach for free, simply because she may donate her time at Society events. It is absolutely fair to ask for compensation for sharing dance knowledge in the real world.
But I believe it is appropriate within an SCA setting, as part of traditionally-advertised free class offerings. I do agree that teachers and students should be able to conduct private arrangements for paid classes, perhaps within the teacher's own encampment, or through the Pennsic merchant autocrat. But I think there needs to be a distinction between this kind of arrangement, and teaching as part of SCA-sponsored classes.
On the issue of "belly bunnies," commented on by Mistress Alethea and others: In observation, the sight of "belly bunnies," (or, I suppose, untrained belly dancers) at events seems to raise the hackles of even tolerant dancers! I know that some dancers who have spent time, money and effort to study this Dance are more than irritated by those who attempt to perform it with virtually no dance knowledge whatsoever. There's also resentment as well as frustration at the audience's seeming inability to tell the difference.
But I think this is where we come in. There is a lack of understanding (and respect) of our Dance, not only within the SCA but in the mundane world as well, because there is not sufficient knowledge of the Dance. And the only way to erase that ignorance is through the enlightenment of learning. I must agree with Alethea and echo her sentiments that we need to encourage beginners to get dancing as soon as possible. I, too, enjoy watching beginners dancing in public. We need to recognize their enthusiasm and bring our dance knowledge to the table so that those who want to learn can shape that enthusiasm into meaningful Dance. Wherever and whenever possible, we should try to share the music, the movements, the culture that is uniquely Middle Eastern.
I am, however, also annoyed (and sometimes disgusted) by some of the lewd displays I've seen masquerading as dance. (Yes, I've seen the doggie-style dancing in the SAC and it turned me off as well). It's that kind of behavior which helps to perpetuate the negative and "dirty" image of dancers as strippers and nothing more.
In those kinds of situations, I tend to simply walk away and search for more educated audiences and dancers. I don't think we can prevent obscene displays; what we can do is offer an example of the Dance as it should be perceived: a beautiful, dignified, sensual and artistic celebration of ourselves.
I like to think there are no real belly bunnies...only dancers waiting to be born. Let's get away from put-downs and recognize the potential dancer in all of us.
As I recall, my first encounter with middle eastern dance was early in my SCA career (15 years ago) in what was then the Kingdom of Atenveldt. Specifically, I was in the Barony of al-Barran, Albuquerque, NM. This Barony, which seemed to have many people with middle eastern personas, produced, and still produces, some of the loveliest and talented dancers I have ever seen. They move gracefully, yet rhythmically and seem to flow effortlessly with the music. I was curious about the dance and discovered that these women had researched the dance and culture m which it originated. There were even live musicians to dance to. The drummers were magnificent. These artists received a great deal of respect from their peers, which impressed me quite a bit. By the reaction of the audience I knew that what I was watching was special.
Being young and inexperienced in life, let a lone these new cultures and arts I encountered, I made the dancers of al-Barran my standard for middle eastern dance in the SCA. Since my home Barony, Caerthe (Denver CO), didn't have middle eastern dancers at the time I lived there, I did not encounter middle eastern dance again until I graduated college and moved east.
My next encounter with middle eastern dance in the SCA was in the in the East Kingdom (New England) where I now reside. Although, I would be hard pressed to tell you at which event I first saw a dancer there, I can tell you that I was not impressed. The dancers I saw the first time, and for many events and years thereafter, were scantily dressed in flashy outfits and danced over the music. (Insert your favorite description of a belly bunny here) They were not in control of the dance and did not appear to have done much research into the music, culture or dress of the Middle East. They seemed to just want to get up and entertain (or get a guy). It appeared that the audience just enjoyed having young women, scantily dressed, undulate in front of them to rhythmic music. All of this made me wonder about whether Middle Eastern dance was taken seriously in the East as it was in Atenveldt. Basically, I gave up following middle eastern dance in the East for a while. However, I came back to it when a friend, who was taking lessons from a professional middle eastern dancer, convinced me to try the dance just for fun. So, in the depths of her basement and out of sight from any onlookers, she showed me how the moves are broken down and began to teach me the basics. I became more interested and wanted to learn even more when my friend took me to her classes with her and I have been there ever since.
My interest in the dance, music, culture, dress and art of middle eastern countries has grown since I started learning the dance. Now, I even own a doumbec and take lessons from Dur when I can. I practice in my living room and probably drive my neighbors nuts.
In the time that I have been studying the dance/arts of the middle east, I have taken seminars from many different teachers and will continue to do so. I have traveled to and danced at many SCA events in various parts of the East Kingdom and have seen the growing interest in middle eastern culture everywhere I go. As I, and the other in my dance group, dance at events the response we receive is very positive. People are starting to understand the amount of work that must go into dancing well. Also, more and more groups are holding middle eastern events and having dance competitions, middle eastern feasts, etc. I think this is helping to change the overall view of middle eastern dance in the East. People are realizing that there is a culture that has not been fully integrated into the fabric of the East Kingdom yet.
The most important thing now is to engender, in those who are interested, a desire to learn more about in the middle eastern cultures. If all artists worked to help people around us understand the culture we are drawing from for our art, we would see a great deal more respect given for our hard work. Middle eastern dance at events is not only for fun, it is a representation of a culture and should be treated as such.
Please understand that the ideals presented in my article are not necessarily those of the publication in which they appear. These are my opinions and experiences and if others can learn from what I have said that's great. If you don't agree with me that's fine too.
Thanks for taking the time to read this and I hope to see you out on the dance floor!!!
Studio East, Glastonbury, CT
I'm privileged to announce that Mona N'wal (Peggy Both) will teach a special workshop t be held on June 20, 1993 in Glastonbury, CT. Mona N'wal has been a friend of mine ever since I first took Middle Eastern dance classes from her 13 years ago. She is well known in the midwest, where she has been dancing since 1978, and recently has been gaining recognition for her work throughout the United States. Her background includes extensive training in ballet and Eastern European folk dance, as well as many styles of Middle Eastern Dance. She also has training in the theatrical arts, particularly in costume design.
Mona N'wal has been teaching for 13 years at the beginning, intermediate and professional dance levels. She has also been a featured seminar instructor. Her instructional method is based on a thorough knowledge of body mechanics, movement technique, and emphasizes use of dance and music composition. She has exacting standards as an artist, but teaches with warmth and humor.
Mona N'wal has not only been a student and instructor of Middle Eastern dance, but has been an assistant director of Kismet Dance Caravan (her first troupe), and was a co-founder of Hazet Helwa, for which she is Artistic Director and principle choreographer. The troupe has performed throughout the Midwest and emphasizes presentation of traditional and unusual styles of Middle Eastern dance in a manner which is educational as well as entertaining. Mona N'wal's dancing reflects her breadth of characterization and dramatic range of expression. She has an eclectic style, and during the past four years has received critical acclaim for her presentation of a woman's story as told through a variety of folkloric dances.
Come join us for her workshop, which will emphasize musical interpretation. There will be a short hafli (i.e. food and drink) afterward, including some dancing. Doors open at 11 AM. Bring veils and zils. Lunch is on your own.
Cost for the day: $30 (includes workshop and hafli). Checks or money orders only please, made out to Nancy L. Barrett.
Send funds, a SASE and a piece of paper with the following: Your name, address, phone number, the number in your party, and any special requirements. Send it to: Nancy L. Barrett, 1265 Main St., Glastonbury CT 06033 by June 15. I will send back directions to the studio in the SASE. There is no extra charge the day of the workshop, but please call and let me know that you are coming (203-633-5392 before 10 PM). For our out-of-town guests, call soon and I may be able to arrange crash space for you.
We went inside and found a wall covered in Middle Eastern music, tapes, some CD's and lots of records. We looked for about an hour, listening to tapes we thought might be interesting to see if we wanted to buy them. The owner, Gary, was great! He told us what he knew about the music on the tapes by artists we were unfamiliar with and, as I said before, let us listen to whatever we wanted on tape.
When it came time to make our purchases, Gary said, "let me see what I can do for you..." then proceeded to take out his calculator to see what kind of discount we could get. You see, we picked out quite a lot of music that day. The discount was significant and between that and the great selection it was well worth the trip.
Gary has a catalog you can order from and he will ship directly to you. Just call and ask him to send it out. His number is 1-617-926-0450 or you can write to Gary Garabedian at 615 Mount Auburn St., Coolidge Square, Watertown MA.
The news up this way, just to refresh your memory (I'm sure Su'had and Alexis filled you in on all of this, but here it is in readable form), is that we participated in a demo in Bergental at the beginning of the month (March) to promote a Middle Ages exhibit at a museum in Springfield. Our troupe performed three of the four numbers we did for First Night Hartford, as well as impromptu solos here and there, and doing a group "wing-it" number at the end of each set to get members of the audience to join us in dancing. We played to a packed house both sets and had a great time doing it.
Su'had, on the way home from your seminar, began talking about how we should have a seminar of our own to encourage dancers and drummers to get together and teach just like we'd done at your house. Alexis and I liked the idea, and I don't know if it has progressed much since then because mundane matters have kept me away form dance class for the past month, but we're definitely considering the idea. We felt the seminar was quite valuable in that we learned a lot, got a feel for how others in parts of the East we're not readily accessible to think and feel about the Middle Eastern arts, and got a chance to see what other folks are doing. I particularly found Phillipia's discussion of life in Turkey interesting and enlightening, and I think Alexis turned into a regular drummin' fool. She was playing "air doumbek" on her thighs all the way home from Bellefonte, and when we played "Bellydance Au Go-Go" in the car, I found myself playing air zills!
I found one suggestion of Aletha's on how to deal with "Bellybunnies" to be most worthwhile: and that's that we experienced dancers should maybe take the time to show them how it's done. A lot of women in the SCA really want to learn bellydancing, but they may live in a part of the kingdom where there are no teachers...or teachers who really don't know what they are doing. In know a few people in Bergental who were doing it before my friend Lady Yvonne moved there from our dance guild in the Midrealm, and no one in our Barony was doing it before I came. We can all do our part to help educate "bellybunnies" by offering dance workshops at events whenever possible, and to perhaps inculcate in them from the very beginning some basic rules of thumb regarding public performances: i.e., no pelvis grinding, no shaking your mammary glands in people's faces, if you have to spread your legs, do it away from the audience (a fact which some professional dancers haven't learned yet!), no humping the lords around the campfire. The philosophy my first teacher instilled in us from the very beginning is what I've tried to impress upon any beginning students I've taught, and this simple rule can help avoid a lot of embarrassment and bad feeling among true bellydancers when faced with "bellybunnies" who honestly haven't got a clue: Belly dancing is SENSUOUS, not SEXUAL, and when flirting, there is all the difference in the world between saying, "Hi, Cutie!" and "Wanna f**k?"
Here's also an idea that I've been thinking about: The folks up in Canada always seem to go wild for bellydancers. I've found this with some mundane Canadians as well as our friends form Dragon Dormant, Havre des Glaces, etc. Many of them tell me they have no bellydancers up where they are. The exception seems to be Baroness Selena. Every year at the Great Northeastern War I get requests by the Canadians to come dance in their camp, because they have friends who've never seen it. If they're that mad for belly dancers, then perhaps they'd like to start training a few of their own! I'm thinking about offering a Danse du Ventre en Francais at Pennsic this year, a bi-lingual dance class especially for Canadians. (Which means I'm going to have to research how to say "shimmy," "hip roll," "sensuous" and "bellybunny" in French!) Most of them speak English, but there are plenty who don't.
All in all the event was just as fun as it was last year and we think you should come up to it next year, they are already planning it, so we can do the dance/drum thing up BIG.
Su'ad wants me to go to the event in Bhakail in June that has the dance competition with the auctioned off judges. She thinks I should go scope it out and represent our group. However, I feel the same way that you do about the auctioning of judgeships and the event is also opposite S&M War which I would rather attend. Perhaps you can come up to Maine for S&M. I realize it is a lot to ask, but I haven't missed and S&M War yet because it is always a good time! You'll have to let me know. You are always welcome in our neck of the woods, so take us up on it, we dare you!!!
I need one thing from you regarding David. I tried to find a phone number for him. Is he in Albuquerque or another city in New Mexico? Have you heard from him yet? One reason I want to get in touch with him is that I have some outlets for his instructional drumming tape and I want to talk to him about it. I hope he hasn't disappeared completely.
I will be teaching some beginning classes soon to start myself out slowly in the teaching end of dance. Su'ad thinks I'm ready to so I will take her word for it and give it a try. She is going to have me fill in for her a couple of times with her beginning class and see how that goes. One of the reasons Su'ad needs my help is that she has very little time and has made some commitments she has to keep. I've been nervous about teaching because I know the importance of learning something right the first time. We'll see how it goes. If I do all right maybe I can come down to your area once in a while and give a class to your dancers.
So, tell me how you are doing. Have you been busy with drumming classes and all your other activities? I'm sure you have. Su'ad and I wish very much that we were closer so that we could take more lessons with you. She and I still aren't sure about whether we will go to Pennsic or, if we do, when we will go. We may have to find another way to take more lessons. Are you still planning a seminar for July? If you are, and Su'ad isn't able to go down for it to teach, you can count me in as a teacher. It would be good experience for me.
Sad news, but the local Middle Eastern Dance group has gone tits-up and taken on water. Largely due to inexperience of the instructor (as well as a radical political viewpoint held by the same), most folks just drifted off. As she would not distribute the phone list, I was not able to stay in touch with any of the folks, and could not reclaim them. Therefore, any seminar held would be for folks from elsewhere (although, I'd love to just do a hafli for us again, just so I could cook!)
In order to do this, I will need volunteers to teach classes during the day and to entertain in the evening. I will also be accepting written submissions for publication in the (lengthy) program. Submissions need not be accompanied by a class. Anything topic relating to the Middle East will be welcomed with open arms. I would also encourage Middle Eastern merchants to attend. Due to space constraints in the hall, no non-Middle Eastern merchants can be allowed on site.
If interested in teaching or writing, please contact the autocrat (me) through any of the following mediums:
Internet: jpelland@harvard.eduThank you!
Layla al-Wahiba (also known as Siubhan nic Cruimein)
The weekend of April 17, 1993 we did our first performance at Black Stone Raid II. I want to tell you we practiced and practiced and even practiced at the site, but lo and behold as the old saying goes the best laid plans of mice and men (this case women), well as you guess nothing and I mean nothing went as planned, we ended up completely ad-libbing the whole thing. And I was so taken by the stage fright bug I couldn't even open my eyes during the dance.
I do want to tell you of some really kind words a lady gave me in the dressing room. She says "don't look down and whatever you do don't stop dancing. I would really like to thank this kind lady, but due to a case of nerves, I neglected to get her name. My hope is that if you put this letter in print. she just may happen to read this and know of my sincere appreciation.
May 1st and 2nd the SCA in this area held a demo and our dance troupe did a demo each day, I myself was unable to participate, due to my office as shire and baronial select MOL, anyway our troupe made a good showing and the public thoroughly enjoyed the performance, some even joined in.
We have even taken a name for our dance troupe. We call ourselves "Jewels of the Desert" or "Desert Jewels".
(Ed Note: They sent this wonderful color photo...I'd like you to see it some time!)
The members of the dance troupe are:
Gliadrachan Redfearne -- Susan West
Dierdra Fairhair -- Patsy Hall
Brigit McLeod -- Debbie Rutherford
Caitilin the Wanderer -- Cassie Kiszka
Kyleah of the High Desert -- Amie Lambarn (troupe leader)
Also I want to tell you of an event I'm autocrating in Oct. 15, 16, 17th, of this year, its entitled A Day and Night in the Harem, we've a wonderful site for this event and we certainly hope that you will be able to attend. And if you have any suggestions or advice, since this will be my first time, it will be greatly appreciated.
Health and happiness.
There is something else I need help on though, and maybe the readers of V&D could help. I"m always very self-conscious when in front of a group. I do "stupid dancer tricks" (candles, sword, veils, etc.) so I can concentrate on something other than all those eyes, but I just want to dance. Has anyone else gotten over this, and how?
I have to agree with Mistress Alethea and Adryana even though I am nowhere near their levels of expertise and beauty. Seeing people who bump & grind, etc. is a real turn-off. I have seen drunken, half-naked men in kilts who look better.
I made a guest appearance at court in the Barony of the Rising Waters, Principality of Eldomere a couple of months ago. A friend of mine wanted a showy way to present the proceeds from an event to his baron, so I volunteered to help. (Me and my stupid dancer tricks again...) $400 Canadian in $1 coins weighs quite a bit, and I dumped them a couple of times working on my bow. (I had the coins in my brass bowl and carried it on my head.) They seemed impressed.
I'd also like to offer crash space for anyone visiting the Columbus area (try to write first please)
Shandra
But when she saw this affection, she presumed upon his favor to use him arrogantly, but when he became aware of this his face became red with anger and he forbid the people of the palace to speak with her. Thus she found herself alone in the palace and she remained this way for some days, but the Caliph was still inclined to her; and one morning he awoke and said to his servants, "I dreamt, last night, that I was reclining with Mahbuba." They answered him thus, "O, Our Master, would not your heart be mended if Allah would that this be so when you awake!" As they were talking a maidservant came into the room and spoke softly to the Caliph, he arose at once and went to the quarters of the women, for the maidservant had said, "Of a truth we heard singing and playing of the zarb in Mahbuba's chamber and we know not what this means."
So he went straight to her apartment, where he heard her playing upon the zarb and singing the following verses:
I wander through the palace, but I sight there not a soul To whom I may complain or will say a word with me. It is as though I'd done so grievous a rebel-deed Where from no contrition can e'er avail to set me free Have we no intercessor here to plead my case to the man who came In sleep to me and took me back to grace and amity; But when the break of day arose and showed itself again, Then he departing sent me back to my sad privacy.Now when the Caliph heard her voice, he marveled at the verse and yet more at the strange coincidence of their dreams and made entrance of her chamber. As soon as she perceived him, she hastened to arise and throw herself at his feet, and kissing him said, "By Allah, O my Master, this happened in what I dreamt last night; and, when I awoke, I made the couplets you have heard." Then replied Mutawakkil, "By Allah, I also dreamt the like!" Then they embraced and made their peace with each other and he abode with her seven days and their seven nights.
I read your recent posting on the net about encouraging new dancers to continue to take lessons, train, etc. Personally, I have been dancing for just over three years and have recently joined a mundane dance troupe. I applaud your efforts to raise people's understanding of the technique involved in all forms of dance. I have been pursuing the same tactic myself at a local level both in the western and eastern dance arts. My activities, however, have primarily centered around A&S classes on how movements and styles developed; breaking down movements to explain what is involved and persuading/bullying people into trying some dance themselves. I have been pleasantly rewarded in the past few months by many people coming up to me and saying that they have found a new appreciation for the art of dance even if they have no interest in pursuing the art themselves. They have even gone so far as to say that the presence of eastern dancing no longer "ruins" their concept of a medieval atmosphere. Please continue in your efforts to encourage new dancers as well as new (and old) "viewers" to expand their understanding of the dance.
I am also interested in your newsletter, Veil and Drum. How may I obtain a copy of the latest issue?
Adryana has provided me with some basic dance costume patterns, and Chengir writes the loveliest (and lengthiest!) of stories...
I'm sure all have something to contribute to the content of V&D, so send it along...I'll be glad to put it in!
If there's something you'd like to see, write and tell us about it...maybe someone has it already to go into the newsletter and is just waiting for an excuse to get it published!
This work is dedicated to those who have perspired (for the cause) and inspired:
(In no particular order)
The Troupe of Blanca (who Knotte Atesh Hanim
Tear's Sea Shore started the
newsletter with a
note)
Soohra Chengir Abu ben Kathira um Rashid Kamilah ben
Said Durrah min
al-Sudan
Alethea bint Fahd Mimika Farasha Rhianna Whirlwind
ibin Acktar
The Great Dark Morgan the Celeste Aylene Hathewisse atte
Horde Tanner/Tabir Mere
al-Kabul
My mom Giséle Tauna Azizah bint
Hannah ben Durrah
Hannah um Jasminah Sebeac(ah) Donnalean Hengist
Kiera Lawan Meagan Neefa bint Durr Sabirah bint Durr
Shandra ben Durrah Fadiliah ben Leonne Monhafoc Dinsdale
Durrah
Arden Ulric (without David (without Shoshona
whom I would not whom I would have
drum) no rhythm)
Sausan (Grape Susan (without Sadika al Peregren the Lost
Leaf) whom I would have Masriyyah
no drum)
Suaad Linnet Margrethe Gwenhwyvar
Zimra al-Ghaziayah Rayah Blackstar Madaline Diana of Greenwood
Cala Savatthini Rashida
al-Alumuti bint
Nasir
The newsletter is a forum for revelation and discussion of various topics, and the editorial licence is constrained to limited corrections (spelling and grammar, when I have the time and inclination) and the selection of topics of interest. Since it is all interesting, almost anything gets published.
I've been seriously persuing this interest since 1991 CE. Before that, it was something else. Ulric introduced me to drumming in 1988, and Margrethe infected me with her enthusiasm in 1989 that drove me to study with David in that same year. The following year (1990), I served my apprentiship in teaching beginning drummers and playing for Blanca's dance class. Out of Blanca's thank-you note to me after that war, the Veil and Drum newsletter was spawned. I founded the Orluk Oasis camp the following year (1991) to provide an atmosphere where like-minded folks could interact on a more prolonged basis.
In the years that have followed, I have had the good fortune to meet others who have provided further knowledge and inspiration to continue with my own growth in this area of interest, as well as share themselves through this simple newsletter. To them I am indebted, however that I enjoy repaying that debt as often as I may! It makes me happy...
"There is no dancing without rhythm, and Durr is The Stupid Drummer!"
Salaam