Saturday, December 9, 2017

Jamila Salimpour (1926 – 2017) ~ A remembrance

This is hard, really hard.  I found out this morning that yesterday one of my most significant teachers joined those in Heaven Above and I want to pay a fitting tribute yet how does one briefly sum up the supremely vast impact of a woman who was legendary in her artistic and historic achievements influencing countless numbers of women ~ and when I say countless I mean to say *at least* thousands and thousands of us ~ who found in her passion for La Danse Orientale (From Cave to Cult to Cabaret) a place of refuge in the dance's deepest roots dating back to ancient matriarchal cultures. These movements steeped in antiquity welcomed us to the dance *and* reawakened the celebration of timeless traditions in which women revered the Great Mother Goddess and celebrated their femininity and sensuality, while invoking blessings of fertility.

Great Mother         
Daughter of the Moon
Mother of the Earth
We were borne in your vessel
And emerged from your Sacred portal
In your image.
Merciful Mother of consciousness
Protectress of women in childbirth
Patroness of women in labor
Goddess of birth
And
Re-birth.     
                           - Jamila Salimpour 
4/76


A squatting woman giving birth, assisted by two goddesses (Hathor and Taweret),
from the Temple of Hathor at Dendera


It was in 1974, as an impressionable twenty year old, who grew up in a strict Irish-Catholic household, that I began to hear (the mind-blowing to me) information about a dance form connected to traditions and rituals rooted in ancient matriarchal Goddess-worshipping cultures. Jamila Salimpour was one of THE most influential women lighting - no - blazing a trail of opportunity for women like me to present this dance/art form as a connection to women's history and an elegant, traditional dance form that felt oh so natural yet also mystical and magical. Furthermore, Jamila was on a mission "to elevate 'belly dance' to a classic (and theatre-worthy) art form ...worthy of virtuosic presentation and skill."(1) ... and I wholeheartedly joined the movement (both figuratively and literally)!

Jamila's Bal Anat troupe performances (originally created in 1968 for the Renaissance Pleasure Faire in Northern California) inspired me to bring something similar to my community and so in the beginning of my career I was deeeeee-lighted to perform at the opening ceremonies of the Pearl Street Mall in Boulder (see photos below), Colorado, as a member of a troupe formed by one of the Jamila's original Bal Anat troupe members (Susheelah) and then on to gathering together a group of my own in Fort Collins, Colorado, and then on to Pennsylvania where I presented ensemble performances in both community festival (Mayfair and Musikfest among others) and collegiate (Lehigh University, Lafayette College and Kutztown University) theater settings.  Yes, indeed, Jamila's influence on me has been monumental and for this I will forEVER be indebted.


I will always remember Jamila as portrayed in this inspiring and powerful image of her in black assuitt with tattoos on her face.  She was an amazing women who crafted a vocabulary for the dance and not only taught it well but taught us how to teach it well too. She had amazing vision for the dance and costuming and rhythms and music.  She was a fierce finger cymbal player and a wonderful storyteller ~ I so looked forward to every edition of Habibi** to arrive in the mail that I might read her latest tale.

Jamila Salimpour's  inspiration & influence on me was mighty and I send shimmering systrum blessings filled with my deepest condolences to her daughter Suhaila, her grandaughter Isabella, her entire family and all the dancers whose lives she touched in monumental ways.

To this day I still use her vocabulary of dance and I ALLways give her credit. Yes, indeed Jamila was a majorly influential woman whom I feel blessed to have had the good fortune to be taken under her wing once upon a time when in my early studies of the dance I traveled to San Francisco to study with my teacher's teacher (Ms. Jamila) after a year and a half of studying & performing with one of Jamila's original Bal Anat troupe members (Susheelah) in Boulder, Colorado.

Yours truly playing doumbek along side Susheelah and Ramona playing flute with us 
at the opening ceremonies of Boulder's Pearl Street Mall c. 1977
Susheelah performing tray dance at the opening ceremonies
of Boulder's Pearl Street Mall c. 1977

As Aisha Ali said in her remembrance of Jamila:  She appeared on the scene at exactly the right moment in time and with her combination of beauty, charisma and captivating humor, she sparked a fire which was to inflame others for decades.

Jamila, to you I bow in deep reverence and ever-lasting gratitude.
RIP High Priestess of Danse Orientale

Much Love,

Tahya



READ MORE:

1976 Article written by Jamila  (re: centennial of introduction of belly dance to the United States), Habibi, Vol. 2, #7
** Shaping a Legacy by Shareen El-Safy, 1994 The Best of Habibi (magazine).  Founded by Bob and Lynn Zalot in 1974, Habibi was the first publication of its kind in the Middle Eastern Dance field (and I was one of its early, most dedicated subscribers!). Between 1992 and 2002, Shareen El Safy published reformatted version as A Journal for Lovers of Middle Eastern Dance & Arts  published by  in Santa Barbara, California. The over 260 feature articles and accompanying photos from each of the 27 issues are recreated here in digital format in The Best of Habibi.

1997 Speech by Jamila (downloadable .pdf)

Click here to visit the Facebook Tribute page

                       

Sunday, November 5, 2017

November 2017 update

FINALLY!  Got a "round tuit" and completed my compilation ~ i.e. a companion document for the systrum.

Here's the introductory commentary followed by a link to the document ~ ENJOY!

I was lovingly raised by wonderful parents who did their very best to instill good family values in me and my siblings. A devout Catholic family man, my father had me attend parochial grammar school. Now mind you this was before Vatican II (which essentially shaped a modernization of the Catholic Church including a changeover from the Mass being celebrated in Latin to English) so my earliest memories include attending Mass ceremoniously celebrated in Latin with incense burning. I distinctly remember the weekly benedictions attended as school children because a) we vacated the classroom (yay!) and b) the chanting of Latin phrases and the singing of sacred tunes amidst plumes of incense provided an intoxicating and hypnotic atmosphere to a young impressionable me. Nevertheless, in the Catholic Church, it being a patriarchal hierarchy afterall, there was no role for a girl (or a mature woman for that matter) anywhere near the altar other than to maybe iron the priest’s vestments and, of course, the church ladies could polish the pews! No higher it seemed could a woman aspire than to enter a convent to learn to become a teacher at best ~ a most noble profession to be sure but prestigious or high ranking, maybe not so much. So, in my late teens, when I discovered that thousands of years ago there were matriarchal cultures wherein women held esteemed positions in ancient sacred temple ceremony, I wanted to learn MORE!

Thus began my independent life-long study of traditions, movements and rhythms steeped in women’s history. Along the way learning the dance as well as learning to play frame drum and finger cymbals, a history of ritual and processions was unveiled, if you will, wherein women played a prominent role. I delved into a study of artifacts related to this history collected and archived at venues like the Metropolitan Museum of Art and in books ~ e.g., When the Drummers Were Women. And then in February 2007 I travelled to Egypt.

Upon my return home following that trip to Egypt, I was inspired to add a sistrum to my personal collection of percussion instruments which I play and utilize for various public performances as well as for personal purposes and/or and community ceremony. However, at that time (in 2007) there was no sistrum in the “marketplace” which even remotely resembled what I’d seen engraved on the ancient temple walls. After that initial search I shrugged my shoulders and considered it a darn shame I could not find what I was looking for: Harumph! Not long after, maybe only a couple weeks later, I awoke with a start from a deep sleep experiencing a feeling of being startled awake and yet, I still felt half asleep in a predawn dimension between night and morning. Somewhere between conscious, unconscious and suBCEonscious, I suddenly sensed a “knowing” of what the gods intend through me. It felt like a wake-up call and I chose to answer this “call” beckoning me to re-emerge the percussion instrument associated with the Goddess Hathor, a prominent deity of ancient Egyptian cosmology.

Ten years hence, after diligently working to manifest the Ceremonial Systrum™ in the 21st Century, I feel honored and privileged to now take the time to amass and relay to you my dear reader some of its rich and magnificent history while inviting you to join me in envisioning this ancient instrument’s sublime and splendid future.


Click here for .pdf download

Wednesday, May 31, 2017

Brielle Paul
Let Your Light Shine

Featuring… Tahya
By Brielle Paul Lehigh University Class of  2020


April 24, 2017
Tahya would probably describe herself as an artist who loves the music and dance of ancient Middle Eastern culture. Anyone who really knows her, however, will say that she is simply a bright and shining light in this world.

It’s a quiet Monday afternoon for Tahya in her office at Zoellner Arts Center. Her desk is engulfed in paperwork and her computer has her email inbox open along with countless other files. She doesn’t seem to mind, however, as no else is in the office at the moment, which makes for a peaceful environment that can 0therwise be chaotic at times. She sits comfortably at her desk and takes a brief moment to admire all of the sunlight that is pouring into her office.

Born and raised in suburban Union County, New Jersey, she led a very sheltered life.  She was raised in a Catholic household and attended parochial school through 9th grade; however, in 10th grade she transferred to a regional high school because her small town didn’t have its own high school. “In the regional school system other young people on my street went to a different high school then I went to, and my brothers and sisters went to a different high school then me,” she said. “Within one block, the teens went to three different high schools. So I tell you this as I feel the regional school system  contributed to my feeling a great lack of community growing up.”

By the time Tahya began studying at a two year college, where she went on to get an associates degree in Business Law, she was trying to figure out what she wanted to do beyond school. Things changed, however, when Tahya, who wasn’t quite 20 yet, listened to Middle Eastern music for the first time. She described the experience as something that “swept me away on a magic carpet ride.” Her curiosity about this kind of music drove her desire to learn more. Despite the fact that her town only provided ballet lessons and her body wasn’t built to a ballerina’s physique, she still loved to dance. 

“When I heard the music, I went in pursuit of the movement and I found out it was something that was deeply steeped in women’s culture, dating back thousands of years,” she said. “So, it sparked my curiosity and interest in ancient civilizations and provided me a very deep well of information into which I dove wholeheartedly and have been exploring ever since.”

Tahya was both excited and inspired to participate in these exotic movement classes because they celebrated women and their sensuality and femininity. These were things that were suppressed in her childhood, so she found that she was eager to explore this other side of herself along with other women.

Tahya calls this style of movement, Danse Orientale, which she describes as an umbrella over a variety of dances and drumming traditions from Middle Eastern cultures.

After searching for an instructor who could teach a vocabulary of movement to match what she felt stirred within upon hearing the music, Tahya finally found an instructor who suited her. She said it felt like “all the riches of the Orient were sparkling before me when I found this teacher.”  Tahya studied intently with her for a year before her instructor told her, “You’re done studying with me, and I have some people who are interested in beginning to learn the dance and I want you to teach them.”  So Tahya found herself teaching students for the first time, although she still felt as though had so much more to learn. In fact, she said she was “absolutely” nervous to teach.“But I took really good notes when I studied with her,” she said. “So I just followed her lead. What she taught in the beginning, I taught in the beginning. What she taught in the second class, I taught in the second class.”

Emily Nadberazny, who has been taking Tahya’s dance classes for the past 13 years since she was 16, says she has always felt inspired by Tahya’s confidence and positivity. “My first impression of Tahya was that she was very personable and made me feel comfortable,” Nadberazny said. “She is very patient and has a way of breaking down certain moves that even people with no rhythm can understand. She makes you feel empowered and makes you feel confident in your own skin. She not only knows how to do the dance correctly but also knows the history behind it which also helps the student understand how the dance should be presented.”  Nadberazny says that Tahya has influenced her in many ways, both as a dancer and individual.  “Dancing with her for many years, one of the main things that makes her so hypnotizing to watch is she has such great stage presence,” Nadberazny said. “Before I took her class I had experience in other forms of dance but always lacked that confidence. She inspires me to be confident in my dance as well as outside of the my dance. She's always very positive and upbeat and you can't help but let it rub off on you.”

Looking back on her life as a young adult, Tahya says that she didn’t necessarily have a career goal in mind, it just ended up being “a completely organic process.”  “It has been an evolutionary journey, that just keeps unfolding, like a lotus flower,” she said. “It just keeps opening wider and wider and wider. It’s also like putting a stone in the water, and the waves ripple out...that’s what happened to me. I always loved to dance, and yet from an early age I thought wanted to be ‘grow up’ to become a backup singer...that was one of my original goal, because I sang. I sang quite a bit. I played guitar and sang when I was young. But, I wasn’t encouraged to do that. I was encouraged to follow my math aptitude, and I did that for a while in college, but it was just far too dry for me.”

Tahya says her parents were very strict, and she was unable to feed her hunger for music and instead was only allowed to take college preparatory courses. Much to her dismay, her parents did allow her younger sisters to study music.“My parents were very concerned...they had this image that someone who goes into the industry would end up a disaster,” she said. “What changed their minds, that my younger sisters got to [study music] and I didn’t? I don’t know. It made me feel a little jealous and sad. However, in that regard, I have to just trust that that’s not what was meant to be for me. To this day, I would still love to be able to sight-read and sing, which I suppose I could still learn, but when that didn’t happen for me, this other thing happened….and now I don’t care anymore! When I discovered the dance, I dove in wholeheartedly and I haven’t looked back. It’s been an incredible journey!”

Although she was encouraged by her parents to capitalize on her strengths in math, Tahya says they eventually came around to understanding her artistic passions after seeing her perform at a music festival.  Well, at first, they thought it was silly,” she said. “But, eventually...my mother being a seamstress, when she actually saw me perform in a concert, she turned the corner and got excited about making costumes for me. Then, after dancing for 10 years, I moved to Pennsylvania, and Musikfest was just starting up. I got to perform (there). My parents were very proud to see me dance at the festival not to mention there was a good size crowd who came out to see the show.”

Tahya eventually landed her job at Lehigh’s Zoellner Arts Center, due in part to her longtime association with Deborah Sacarakis, the Artistic Director of Zoellner Arts Center. Sacarakis knew Tahya as an artist, and invited her to perform as part of the Cultural Arts Series, one of Lehigh’s student affairs programs. This series would later be moved to Zoellner, and renamed the Guest Artist Series. After her performance at Lehigh as part of the Cultural Arts Series, Tahya and Sacarakis developed a friendship over the next 20 years.  As Tahya’s  marriage began to disintegrate, Sacarakis would frequently check in on her during her rebuilding period. Tahya told her that she was going to start up a virtual office executive business,  so she could work at home and make money that way.

“Teaching dance is not the most lucrative career, so I was looking for ways to supplement my dance teaching,” she said. “Around that time, Deborah said that there was an opening at Zoellner. ‘Maybe you want to apply,’ Sacarakis said. I was swimming in a pool with 80 candidates.  Fortunately, I got the job here. I do think thanks to my skills coupled with it being helpful to be associated with someone in the organization. Come to think of it I’d bet nine times out of 10, they’ll tell you: It’s not what you know, it’s who you know.”

For someone who had been working from home for over 20 years, it was not an easy transition for Tahya.  This was a big adjustment.  “The good news is, I have this beautiful office!,” Tahya said. “You know, lots of sunlight, so that’s a positive aspect. And, Deborah is exceedingly well-skilled at her assessment of performing artists. So, it’s a privilege, at the end of the day, to see some of these artists in concert and see her efforts come into fruition.”  Tahya says that her favorite part about working at Zoellner is going to see the performances by the guest artists Sacarakis brings in every season. By the same token, she notes that it is challenging to keep up with all the changes that happen during planning and artist recruitment. “Some artists will have to back out because they get a movie contract, or Broadway gig, and as much as they want to honor coming to do the performance here, something that’s a steady gig as opposed to a one-time performance...you know...even if they have a series of engagements, it’s still in their best interest,” Tahya said. “So then that shifts everything, and we have to start all over again and find somebody else for that day.”

Sabrina Morawej, one of Tahya’s work study students at Lehigh, says that working with her has been “fulfilling.” “When I first met Tahya, I did not expect her to be white,” Morawej said. “When I was emailing her, I thought the name Tahya was an African American name, maybe Arabic, so when I met her I was just a little shocked! Her office was decorated with Middle Eastern trinkets, and so I was like, ‘Ohh, she's a hippie’, but it was not at all a pejorative opinion. I think she's awesome.”

Tahya, who also occasionally produces her own music, has shared some of her work with Morawej, who says that she is appreciative of the fact that Tahya is so open about her passions. “She sent me a really good song she and a friend produced with a really hot beat called ‘Say Something’,” Morawej said. “I like that she shares her art with me, I mean, not to make it all about me, but it is flattering when people want to share what they're proud of with you. She is super open and has given me great personal advice on how to handle my relationships to vitamins great for women's health. She's a wise and empowered woman.”

While Tahya is certainly content with the way her life has unfolded over the years as an artist, she has plans for what she wants out of life in the future. She hopes to educate others on the history of the Systrum, an ancient Egyptian hand-held percussion instrument, which she feels has empowered women for centuries.

“I think, as you can see, things have been happening for me in an evolutionary fashion and in a very organic way,” Tahya said. “Learning to play the style of hand-drum I play, which also has a history deeply steeped in women’s traditions dating back thousands of years, attracts women who are really interested in playing but find it is challenging starting with how to hold it properly and then learning the basic strokes and rhythm patterns. The Systrum, however, requires just a little flick of the wrist. It’s a tool of empowerment, for women to play percussion, that’s also connected to history dating back thousands of years. I see myself making presentations about that history. I am holding the vision that that is what my future looks like.”

As for her where and when she decided on the exotic name Tahya, she said she got to a point where her Christian birth name wasn’t fitting the person she was evolving into. One day, after performing at a the Grand Opening Ceremonies inaugurating the pedestrian mall on Pearl Street in Boulder, Colorado, she asked an oud player for suggestions for a stage name. The very first name he suggested to her was Tahya, which means greetings or welcome. “I thought that it was perfect, because I wanted to welcome people to the magic carpet ride!,” Tahya said. When my marriage disintegrated, and my life moved forward in yet another evolutionary step, I was like ‘that’s it, I’m all Tahya, all the time...that’s it!”

After the career she’s had thus far, I asked if she could go back in time and tell her teenage-self anything, what would it be?  Tahya would tell her younger self to be happy in life and with herself. “Don’t worry, be happy,” she said with a laugh. “You’re gonna be just fine. Trust the process.” After a moment of reflection, she added, “And...love yourself! Love yourself, love your body. I was taught to be ashamed of my body.  Absolutely, that would be a very big thing I would tell my teenage-self.”  Tahya credited going to parochial school for her self consciousness as a teenager, because she was taught that everything about her body was a temptation toward sin.

“This is why it was so huge for me to be turned on to this dance that was a celebration of femininity and sensuality, because that was big news to me,” she said. “Just imagine...Catholic school...nuns…Oy!  I would tell my teenage-self to be grateful for the body you’ve been given for this lifetime’s journey, it’s the temple of your spirit...and let your light shine!”

Let your light shine!


Thursday, April 20, 2017

Pink Veils for a Pretty Woman



Cristin Terwilliger
                       …a remembrance 

In early March this year, I welcomed several newcomers to my Spring class session at Northampton Community College (NCC) ~ among them Ann Covalt Henry, Rita Sillivan-Smith and Cristin Terwilliger. Cristin appeared “cute as a button” and yet I also sensed she seemed somewhat fragile. I couldn’t quite put my finger on it but respected her presence in the class and encouraged her same as everyone else in the class. She seemed to light up from within when we “explored” the shimmy and when Ann, Rita and Cristin left class that first night I saw them cheerfully walking arm-in-arm.

Come early April, Cristin participated in both the class I offer at NCC and a class I present at the home of the Cancer Support Community Greater Lehigh Valley (CSC). Her participation in this (CSC) class provided a glimmer of my understanding why I perceived her being ‘fragile’ upon our first meeting. Nevertheless, we once again shared smiles as I encouraged the class participants to execute a “sassy” walk consisting of stepping on the ball of the foot and then gently coming down on the heel while rolling back the shoulder, then pausing in place and rolling one shoulder and then the other while doing a slight level change. Together with the other participants we laughed when I “growled” like Eartha Kitt as Catwoman and invited everyone to infuse the movement with her own unique sassiness!

It was only a week later Cristin’s friend Ann phoned asking me to accompany her to the hospital where Cristin was admitted the night before and had been diagnosed as terminal. Needless to say this message took my breath away. I couldn’t imagine this darling young woman and her family facing such a harsh reality. I replied to Ann saying I would be honored to accompany her and shared my vision of taking a small portable sound system to play exotic, intoxicating music as we floated into her room with pink veils, danced around her bed and, hopefully, transformed her hospital room into a place full of love & light.

It seems like only moments after I’d formulated these thoughts that I received yet another message from Ann informing me Cristin’s family had contacted her to say Cristin had taken a turn for the worse and they didn’t think she would make it through the night. Deeply saddened by this update, I joined Ann (and others) in holding Cristin in the palm of our heart/mind/prayers that she might be peacefully and gracefully embraced by a host of heavenly angels in her period of transition. Ah, the veil between the worlds is thin; it’s an ethereal curtain between the minutiae of everyday living and the divine truth of eternity. Entering the divine realm, which resides just outside our everyday consciousness and linear, reasoning mind, is always a mysterious journey. As I waited for more information from Ann, thoughts of Cristin and her family consumed my thoughts over the Easter weekend and I invoked blessings from the Bringer of Light**.

In the morning a couple days later, I prepared my music and dance notes to facilitate the final class in the current NCC class session. I gathered together as many veils as I could carry to class with the intention of inviting all the participants in the class to think of the veils as angel wings or beautiful butterflies fluttering around the room sending Cristin and her family lots of love and channeling our group energy in a positive and uplifting wave of healing harmony. That night as I stood at the classroom door welcoming the class participants, Ann and Rita solemnly entered the room and shared the news that Cristin has crossed over just a few hours earlier.

Sensing Cristin’s spirit was still with us, I felt all the more determined and inspired to proceed with my “lesson plan” thus honoring her with our veil dance…. and so I announced her passing. We formed a circle of pink veils, and we swirled, twirled and floated like butterflies uplifting the spirit of this sweetheart who was with us for far too brief a time.  Rita said, “I want to thank you for the lovely veil dance last evening in memory of Cristin! I know she loved the dance and she so enjoyed your class.  You made everyone relax and enjoy the moment.”

In a circle of pink veils
we swirled, twirled and floated like butterflies
uplifting the spirit of this sweetheart...

I also invited Ann to share a few thoughts.  Ann is an acupuncturist who had been treating Cristin and in the process also became a very close friend.  Ann was the one who had the idea bellydance and yoga would be good for Cristin’s body mind and spirit, but Cristin had concerns about being able to participate in a dance class.  After Ann’s friend Rita encouraged Ann to attend one of my drum circle classes, Ann told me she was confident she’d found the right teacher.  Together with Rita, a Reiki Master who also works with flower essences, the three of them (Ann, Rita and Cristin) registered for my beginner belly dance class at NCC.  Ann said, “We all have our reasons to dance, for healing, for strength, for love. During our bellydance class with Tahya, Cristin found her feminine strength. She had gone from a shy girl afraid of life and death to a young woman who embraced her power and life's path.”

My deepest sympathies go out to her beloved family and friends. It was my distinct honor and privilege to have made acquaintance with beautiful Cristin Terwilliger. She etched a place in my heart.

Cristin Terwilliger is birthed forevermore into Divine Light.
I shimmer my systrum for you my dear...

Sššt Sššt Sššt
– Tahya, 4/20/2017


Easter symbolizes *Divine Rebirth*

**Eostre or Ostara (Old English: Eastre [æːɑstre]; Old High German: Ostara (reconstructed form)) is a Germanic goddess who is the namesake of the festival of Easter symbolizing the beginning of Spring."The Bringer of Light,” she is celebrated for one month following the Vernal (Spring) Equinox. 

Eostre is written about by Bede in his 8th-century work The Reckoning of Time, wherein he states that during Ēosturmōnaþ (the equivalent of April), pagan Anglo-Saxons had held feasts in Eostre's honor, but that this tradition had died out by his time, replaced by the Christian Paschal month, a celebration of the resurrection of Jesus.  Both the Hare and the Egg are symbols of fertility and Rebirth. In Celtic tradition, the Hare is sacred to Eostre/Eastre, and is the totem animal for many Lunar Goddesses. The Egg (and all seeds) contains ‘all potential’, full of new life.