Musings and memoir of a magic carpet ride ala Danse Orientale, travels to Egypt, Tuscany, Andalucia & Crete & the inspiration and re-emerging of the SYSTRUM* (aka sistrum) after its being buried by the sands of time for hundreds of years....
*hand-held percussion instrument & Ancient Egyptian temple ritual implement
For more info., please visit: hathorsystrum.com
Saturday, February 7, 2015
Sistrum / Systrum
Processional Instrument Ritual Implement
Elusive tho' the rhythm & melody may be
A fellow sojourner once told me
there's a song in the systrum's story.
A poet I may not be, but temple priestess reincarnate, YES, that IS me!
The Systrum awakens the Mystery deep within
transporting me
through time, I swoon
transforming me
from earth-bound to sky-clad spirit
under the light of an ancient moon
Gently shimmering the jingles,
I become one with those etched on ancient temple walls
Musician priestesses standing tall
Processing through the temple courtyard
with instrument in hand...
Tho' the rhythm and melody may be buried beneath drifting sands
their chant* to the Goddess throughout time eternal withstands
We sound our drum for her Spirit We dance her Grace We see her lovely form in the Heavens She is our Lady of Sistrum Hathor! Lady of Delight, Mistress of Dance & Queen of Song ...
Best wishes for a New Year shimmering with blessings of vibrant good health, wealth, prosperity & vitality :: Teka dum Teka dum Teka dum Pah
SSSsssSSSsssSesheshet sssSSSsssSesheshet
In the spirit of our interconnectedness, I invite your suggestions/ideas/comments/assistance in cultivating ideas regarding the creative manifestation of the Systrum in the world as I believe this beauty allows re-creating and participating in meaningful "exercise" (ritual) combining body~heart/mind~spirit.
The Systrum is a simple, yet effective, devise/tool/implement/instrument. How simple is it? It's like putting a rattle in a baby's hand. Playing the Systrum is natural, instinctive and historical too. Yes! It's historical, affordable and easy to play ~ allowing us to . . .
Remember ancient drumming & chanting traditions of Egyptian temple musicians. (Click here to read more) Arouse & bring alive those memories in our contemporary 21st C existence!
Historically the SYSTRUM was used as part of temple ceremony and ritual and I invite you to create a meaningful ritual this holiday season integrating this historic & easy-to-play instrument as part of a simple (or complex) ritual you create to commemorate Winter solstice: A signal to celebrate!
Your ritual can be as simple as lighting a candle with an intention in your heart to commemorate this pivotal moment and re-kindle your inner fire!
After all, for those of us on the northern part of Earth, this is the shortest day, but then after Winter Solstice, the days get longer, and the nights shorter. Let there be Light! SSssSesheshet*
*the singing/ringing sound of the Systrum
Winter Solstice Ritual Ideas:
LOVELY LANTERNS: Consider this...Refrain from using artificial light for the entire day and then welcome the new season by lighting solstice lanterns 'crafted' from empty jars and/or glass tumblers. Decorate 'em (or not) however you like; insert tealight candles. Assemble many & enjoy all around your house…
CANDLELIGHT CEREMONY:
Here's a nice ritual you can do with friends or family. Place one large unlit candle on your table with various smaller unlit candles for each person present. Turn off all the lights and spend a moment in darkness and quiet contemplation. Then whomever is leading, lights the main big candle offering a blessing. After that one by one, each person around the table lights his/her candle from the main flame offering a word of gratitude and placing the candles in a circle around the main one. Once all the candles are lit, in unison offer a song, blessing or simply say: “Happy Solstice.”
August 29 Birthday of Het-Hert (Hathor) Ahhh... The golden light of late August signals a winding down of a summer filled with many of life's finer moments: Delicious fresh farmers market fruits & veggies,
afternoon strolls along the beach,
and unhurried evenings spent outdoors
with friends amidst
the twinkling of fireflies... As August nears its end, I resolve to stay calm & carry on, savoring every precious moment. Remembering, after all, another great aspect of August is that it also heralds crisp, cool days to come and, with them, anticipation for what life will bring next:
LOADS to E-N-J-O-Y !
Happily, for example, rehearsals with the Lehigh Valley Percussion Priestesses culminating with an ...
Autumn gig with Grant Smith @ Godfrey Daniels Sunday, November 9
teka dum teka dum teka dum pah We play the tambourine for Your Ka, We dance for Your Majesty, We exalt You To the height of heaven. You are the Mistress of Sekhem, The Menat and the Sistrum, The Mistress of Music... We rejoice before Your face; we play for Your Ka. Your heart rejoices over our performance.
I find her writing truly inspired and for this I am grateful. Furthermore, I am oso grateful to have made her acquaintance (never will I forget our breakfasts on the "Moroccan patio" of the home Sophie Nusslé and her mother Margaret in Granada overlooking the Mediterranean with fresh squeezed orange juice et al * sigh*).
But I digress, permit me to express my gratitude for Naomi's essay on Inspiration. It clarified aspects of my journey ~ that is to say, in the moment I had the inspiration to re-emerge the systrum (after its being buried by the sands of time for hundreds and hundreds of years), I truly, deeply, madly felt a "moment of mysterious revelation, a shared breath with the forces of creation from the universal & unbounded realm of Spirit" ... leading me to a most enthusiastic response.
I appreciate Naomi's crafting the words & meaning around a moment that afforded seismic shifts. I found myself going left when all along I had anticipated going right.
She eloquently described "an inspired project will draw people toward it like a magnet." (INDEED, what a magnetic field 'round this one!) The essay went on to say "Inspiration and enthusiasm go hand in hand, genuine inspiration produces visible enthusiasm. Enthusiasm too carries a mystical weight since the word comes from the ancient Greek word eufousiasmz meaning, to be, inspired by or possessed by God. The two qualities belong together as cause and effect..."
"Enthusiasm is our response to inspiration
and this divine possession brings passion to experience
and a sense of mission and purpose to action.
This is the elixir of life, drink deeply of it whenever you can."
In addition to our classes with Layne (read 'more' below), the museum in Heraklion and visiting the sites of the ancient Minoan temple community centers, for me, the trip's highlights included the comraderie of the participants, the charm of the small fishing village of Mochlos, the yummy lunch in Kandanos en route to Paleochora, the outstanding dinner in Agia Galini at Taverna Kosmas and the bright sparkling afternoon in Zokros where we brought a smile to many faces when our drumming and dance spontaneously combusted into a celebration of good will! Our group was snapping photos as were the many tourists from throughout the world who were drawn to our galvanizing energy.
One of the most lasting impressions for me was setting foot on the processional walkways preserved throughout time. Each temple community center we visited was arranged with a long processional path leading to a grand stairway which led to a lustral basin where the populace was anointed before entering the temple.
This was an enriching experience continuing to unfold in waves rippling through my life....
More:
On my return flight(s) from the island of Crete on the way back to the U.S., I began writing in my journal wondering what revelations, if any, would unfold… *MOST* of all, overall, I must say it was an *extraordinary blessing* to have traversed the hills of Crete with Layne Redmond (author of the book WHEN THE DRUMMERS WERE WOMEN*) and the flock of sojourners Layne attracted, each with a unique gift to bring to our group energy.
The first three days of our pilgrimage found us sequestered in the beautiful and charming little fishing village of Mochlos on the eastern shores of the island. A quiet locale suddenly stirred by our presence. From our classes with Layne eminated the sounds of drumming and chanting, overtone singing, and humming practices ~ the practices of the drumming bee priestesses who served the Bee Goddesses: Aphrodite, Artemis, Demeter, Rhea, Cybele, Ariadne and Neith.
We learned a synthesis of drumming techniques from India, the Middle East, and North Africa on the Middle Eastern Style tambourine.
We invoked the elemental energies of earth, water, fire and air and the four directions through the drum.
Minoan Sistrum @ Heraklion museum
We worked with sistrums, the percussion instruments depicted in the ancient Minoan frescos and looked at the prevalence of the archetypal concept of the seven chakras from all over the world with an emphasis on the ancient Mediterranean cultures of Egypt, Mesopotamia, Greece, Rome and Catal Huyuk, Turkey.
We created sacred space through ritual with the frame drum and sacred sounds, and focused on the heart chakra to help bring balance to ourselves, our culture and the world. We were introduced to the yogic practices of the Bee Goddess from India ~ mudra and mantra for the bee goddess, several forms of pranayama practices derived from the buzzing of bees which vibrates and realigns the entire nervous system, brain and body by buzzing the vocal chords.
I was uplifted making acquaintance with new dear hearts and delving into the Minoan culture. Furthermore, each ritual conducted was a blessing connecting us not only to the potential for realizing the unfolding of our higher self but also re-connecting us to antiquity, re-connecting us to a time when temple communities celebrated with ritual and feasting... And as I wrote these words I realized our pilgrimage was mirroring this culture... We were a travelling caravan conducting ritual seaside in Mochlos, hillside in the olive groves, and inside the island's sacred caves, and at least once daily gathering together for communal feasts. [The food was not gourmet per set but more often than not it was quite good, simply prepared with the "freshest" ingredients providing sustenance for the next "leg" of our pilgrimage.]
Our final dinner harborside in Chania at sunset was delightful with photos being taken left and right, smiles, toasts, and offerings shared, and then farewell hugs exchanged. On our way back to the hotel Maria, Layne and I "stumbled" upon two musicians (one on oud, the other on a lyra) playing to an empty house. We strolled in to the café and Layne inquired if they had a tar or tamborine. They didn't but they had a dumbec. She professed this was not her instrument of choice but went about playing quite nicely indeed! Yours truly regretted she didn't have her finger cymbals at hand. Nevertheless I sat down and started clapping in a flemenco style ~ inspired by the moment and a muse who sprang from somewhere deep inside. We shared a lovely magical musical moment before deciding we needed exit to return to our respective hotel rooms to pack for journeys homeward.
This 'pilgrimage' proved a unique experience with many lasting magical moments for yours truly ~ again, not the least of which were the practices Layne shared compiled from her life's work of research. I was impressed with the love and concern Layne exuded in caring for each and every participant's satisfaction. Layne was fully present, visible and always available.
One other thing I carry with me is the impression from our travels on the bus ride through Crete was the site in one small village after another of folks sitting watching the day/world go by. It reminded me of a page I ripped from a Sark calendar a friend gifted to me a few years ago and that I have taped to the side of my desk: "Stop doing. Just for right now." The folks of Crete personified that message for me. They were NOT in a hurry rushing to their next appointment, they weren't plugged into a cell phone or computer, they weren't updating their website or answering e-mail and/or maybe doing all three at once. No. They were quietly sitting. Just sitting. No book, newspaper, or magazine on the table by their side. Not even a coffee cup or glass of water. No journal. JUST sitting. Simply sitting ~ just for now. Can I sit quietly, sit in meditation? Sit in stillness. Just sit. Can I do that? I don't know, but it sure gave me pause to witness that serenity. My conclusion may be as Ross Dalyso eloquently articulated when we visited his Labyrinth Musical Workshop:
Tradition is to take something from the past,
do the best we can with it in the present and make an offering to the future.
Ross Daly playing a composition of his own on a new Nak Tarhu built by resident instrument maker Mazdak Fereydooniat the Musical Workshop Labyrinth, Crete For further information: info@labyrinthmusic.gr
Last, but not least, my itinerary permitted my spending an afternoon and evening in Athens. After a delicious meal at a rooftop restaurant I watched the full moon rise and the walk back to my hotel provided a spectacular, breathtaking view of the magnificent Acropolis under the light of a brilliant full moon. Auspicious!
Participating in the art of Danse Orientale one benefits from a) exercise, b) new ways of adornment, c) a connection to women (throughout the ages), and d) an exploration into the her/history of civilization.
Through the investigation of ancient gestures and music, we spiral toward a deep well residing within. We discover inner resources for inspiration and uncover creativity, fluidity, confidence with emerging grace.
Let us remember, recover, realize: The creative spark residing within is an immense force and the value of that is immeasurable. Imagine if we all put that creativity into action! Imagine every time we are faced with a challenge rather than reacting with some knee jerk response we instead close our eyes, take a breath, tap into the creative well and respond with fluidity and grace.
My mission is to present a few "tools of the trade" from which one might discover his/her own radiant essence.
Typically in my classes, I first introduce The Golden Rule*. Next, I introduce an Egyptian folkloric 4/4 rhythm pattern known as ‘Beledy’ inviting everyone to step with the pulse and then clap along until we are all synchronistically moving feet and hands, hearts and minds. This dance embraces us and the beats provide the foundation for the rhythm of life…
“Everything in the universe has rhythm. Everything dances.” - Maya Angelou
________________
*The Golden Rule
One of the very first lessons I present in my classes refers to a sequence of hand gestures referred to as "The Golden Rule” from classical South Indian dance known as Bharata Natyam or Bharatanatyam**.
I teach it as it was taught to me by my guru, Mimi Janislawski, PhD, master of classical eastern dance traditions. Dr. Janislawski, who originally enticed by the exotic movement, music and costumes of Eastern dance, immediately recognized the opportunity Bharatanatyam afforded for "dancing eternal cosmic truths. Shiva is the name of the lord of the dance, but what that really means is change and motion in the universe. Vishnu is life, you are honoring life. We dance on Mother Earth," Mimi says in a breathy, peaceful voice. "The material is very organic and nationless in its meaning. Hinduism is just one outward expression of it."
Mimi Janislawski, native to San Francisco, has traveled a unique path to her chosen career as an exponent of Bharatanatyam. She began her dance career in classical ballet, graduated from the Royal Ballet, London, and was awarded the Solo Seat, the highest degree of the royal academy of dancing. In London she began her study of Bharatanatyam from Balasundari of Kalakshetra, 1968-70. Upon returning to her home, she trained under the late T. Balasarasvati, 1971-76. Mimi has performed nationally and internationally in a wide variety of settings - concert, theaters, museums, universities, art festivals - ranging from the Museum of Fine Arts, Boston, to the Temple of Karnak, Luxor, Egypt. Tours since 1979 have included India, Egypt, England and the US. Her large repertoire consists of dances from the ancient classics to original compositions in the traditional style. She has maintained a school in the Bay area for over thirty-five years.
Mimi Janislawski :: Way of the Dance
In addition to her mastery of Bharatanatyam, becoming the embodiment of a heavenly Goddess come to Earth, what also sets this *extraordinary* artist apart is that her repertoire includes all of the following: classical dance of Japan, classical Chinese court and character dance, Javanese court dance, Balinese ritual temple dance, Sudanese and Korean dance.
In addition, she has created an Egyptian Suite, the culmination of tremendous research bringing to life the ancient dance of Egypt complete with an explanation of the meaning of the gestures from the hieroglyphics and how these accumulated gestures were put together. This dance was performed at the Temple of Karnak by invitation of the Egyptian Government, Department of Antiquities.
Mimi Janislawski in her Ancient Egyptian ISIS costuming
with moi in Maui, 1999
**Bharata Natyam dance dates back to ancient Vedic rituals from approx. 3000 BC considered to be a "Golden Age when art, science, mathematics, astronomy, architecture and religion were not separate fields, but were oriented to one Universal cosmos." Hence, this principle. Golden (age) + rule = Golden Rule, a universal truth of dance and drama technical procedure. So titled by Mimi Janislawski (among other America dance instructors) because it is THE basic expression of technique, emotional and spiritual procedure for a dancer and/or actor/actress.
Bharata Natyam was the embodiment of music in visual form, a ceremony, and an act of devotion. Today Bharatanatyam is a traditional dance-form known for its grace, purity, tenderness, and sculpturesque poses. Today, it is one of the most popular and widely performed dance styles and is practiced by male and female dancers all over India.
In ancient Tamil culture and society (an ethnic group native to Tamil Nadu, a state in southern India), the arts of music and dance were performed by Hindu temple Devadasis. These arts were highly developed and played a major role in daily life and devotional ritual. Many of the ancient sculptures in Hindu temples are based on Bharata Natyam dance postures known as karanas. In fact, it is the celestial dancers, apsaras, who are depicted in many scriptures dancing the heavenly version of what is known on earth as Bharatanatyam. In the most essential sense, a Hindu deity abides in his temple as an esteemed and revered guest. Countless ancient Hindu temples kept a tradition of maintaining highly trained dancers and musicians to offer the deity the “sixteen hospitalities.” Dancing and music, pleasing to the senses, are among these hospitalities.
The "Golden Rule" is the first Sanskrit shloka (poetic meter ~ e.g. couplet) of the Natya Shastra , the ancient Indian treatise on the performing arts, encompassing theatre, dance and music codified and written by Bharata Muni (c.600-800 BC). Bharata Muni wrote an entire treatise of procedures on dance and the "Golden Rule" is the first chant (shloka) in the treatise on dance. The "Golden Rule" chant translates to: “Where the hand goes, there goes the eye. Where the eye goes, there goes the mind. Where the mind goes, there goes the bhava. Where the bhava goes, there goes the rasa.” As explained to me by Mimi, the "Golden Rule" reminds us that the technical aspect of the dance is presented by you, the vehicle of the dance, and becomes the emotional quality (bhava) as it radiates out from you. The bhava in turn becomes the spiritual/ethereal quality (rasa) as it received. The rasa is the exchange between artist and audience or, for example, when practicing alone, between artist and the Universe.
Mimi further explained from this Golden age come three methods of rules for any/all procedures ~ including, for example, architectural procedures, dance, meditation, love-making, etc. The Sanskrit meter in which the procedure was written determines whether it is a shastra, sutra (as in Kama Sutra), or tantra. A shastra is most often an observation written to explain an earlier scripture or sutra. Shastras are more conducive to chant. Tantra is an accumulation of ideas and practices, characterized by ritual forms of worship.
In my classes, I start with teaching the Golden Rule not only for its historic significance but also because it reminds us of our heart/mind connection. When reviewing the chant, you will see that the gesture associated with "there goes the mind" utilizes two hands in the Kathakamuka mudra. One hand pointing to the brain and the other pointing to the heart because it was known thousands of years ago that the heart and mind are inseparable and this 'Rule' reminds us of this fact.
Processional Instrument Ritual Implement
