Enthusiastic Emergence @ NAMM 2014

Permit me if you will to express great enthusiasm following my attendance at the 2014 NAMM tradeshow (Jan. 23-26) where the response to the debut of the SYSTRUM exceeded expectations ~ i.e., despite its having been "buried" by the sands of time, I was delighted by the number of people who knew what it was without the slightest solicitation on my part. Hooray!

The SYSTRUM and I arrive ready to play at the Drum Circle!
Photo credit:  D

 Arthur Hull
Photo credit:  D

Among my personal highlights was bringing the SYSTRUM to the Friday night REMO Drum Circle* which draws men, women and children of all ages to the Palm Garden outside the Anaheim Convention Center for a group music-making experience led by REMO facilitator extraordinaire and rhythm ambassador, the one and only Arthur Hull. 

(Click here to see a video collage of the drum circle!)

WOW - WOW - WOW!  What a fabulous, amzing, mystical, magical, wonder-filled experience robust with delightful surprises ALL associated with the debut of the SYSTRUM at this spectacular event hosting over 9,000 merchants and attended by 90,000+ at the Anaheim Convention Center.

Arrival at Convention Center

I flew from PA to CA on Thursday, January 23 with purrrr-fect and on-time connecting flights.  Upon landing @ LAX my syster in the systrahood Ms. D was waiting my arrival in her gold chariot and off we flew to her abode.  Not having seen each other in person for several years we stayed up 'til the wee hours of the morning talking about various and sundry things as well as strategizing the SYSTRUM's first-ever appearance at this event.

The next morning we played a recording of beautiful ragas as we prepared ourselves in a relaxed manner to be Her representatives at this big event.  We were blessed to navigate the freeways with ease between Santa Monica and Anaheim.  Upon arrival, we made our way to the Mid-East Mfg. booth to deliver a couple items I thought might enhance Her debut amidst the array of beautiful instruments on display therein.

Tahya & Diana at Mid-East Booth, NAMM 2014

Tahya & Kim at Mid-East Booth, NAMM 2014
Photo credit:  D

On our way to check in with our friends at REMO I met guitarist and author Robb Lawrence after which we headed over to REMO 'hub' where I enjoyed meeting the super talented yet unassuming Pete Lockett who is renowned as one of the most versatile multi-percussionists in the world:   

Pete Lockett
Photo credit:  D

Many friends were made and photos were taken, even amidst our hotel shuttle mates both that night and the next morning:

Miranda Rondeau, Tahya, Sean Lee, Diana, Junko Lewis and Miwa Rocker

Sebastian Nylund, in the green jacket,
Diana, moi and John Williams, Philly-based saxophonist
BTW, John took a keen interest in the SYSTRUM
and upon taking it in hand, 
he expressed a knowing that this instrument was used for 'clearing'
things that make you go hmmmmmm

Chris Declercq
with two Chicago sweethearts
Photo credit:  D

I look forward to returning to NAMM next year and in the meantime fostering all these new relationships and burgeoning SYSTRUM circulation!  May its re-emergence 

     a) empower hand-drumming enthusiasts who previously may have found themselves challenged to learn techniques associated with various hand drums by discovering the joy of playing percussion ala this wonderful & historic instrument associated with rich millennia-old traditions,

     b) shed light on Egyptian (ancient and contemporary) culture and Goddess cults of Hathor & Isis, etc.,  and

     c) re-inspire meaningful intentional ritual and creative authentic living in our daily lives...

Diana & Tahya on the final day of NAMM

 ---

Photo credit:  D

*FINAL NOTE: Over the years Paulo Mattioli facilitated numerous Remo Drum Circles at NAMM and we shared many a smile in his recounting those experiences.  Your spirit lives on brightly in the Remo Drum Circle my dearly departed friend. We miss you muchly and remember you always with great fondness.

www.NAMM.org 

The National Association of Music Merchants (NAMM) is the not-for-profit association that promotes the pleasures and benefits of making music and serves as a hub for people seeking the newest innovations in musical products, recording technology, sound and lighting. NAMM activities & programs are designed to promote music making to people of all ages.

Influence of Layne Redmond's book

The book by Layne Redmond, When the Drummers were Women is a book that holds a prominent place in my personal library as well as in my life, "literally" documenting the teachings I'd learned ~ that is, practices of rhythm and movement which have been handed down in oral tradition for thousands of years.   Thanks to Layne's work, much of this information now was compiled and in print with photos of historic artifacts related to the spiritual history of rhythm and rituals dating back to ancient matriarchal cultures.

However, BEFORE this book was published, going back I believe to the year 1996, my friend and then accompanist Benjamin Iobst** first hosted Layne Redmond at an event in Kutztown, PA, which I attended. Layne announced with great pride that her book was about to be published.  Meanwhile, that afternoon she led us in a group chant while encouraging our playing several of the basic strokes associated with the frame drum. She was a a natural talent dedicated to her frame drumming skills and she was a master facilitator; no wonder, since we'd come to learn she'd been studying and playing with Glen Velez for years. Glen is a master percussionist, vocalist, and composer, specializing in frame drums from around the world and recognized to be largely responsible for the increasing popularity of frame drums in the United States and around the world.  BTW, I went on to produce several programs with Glen years later which I will write about in a subsequent post. 

By this time (1996) Benjamin and I had been collaborating for a couple years.  He was originally introduced to my craft when attending one of my shows at Musikfest.  He had signed my 'fan' mailing list and in short order we subsequently met in person at a Middle Eastern Dance concert produced by Nagwa Said at the Annenberg Center in Philadelphia, PA.  As fate would have it we were in line standing side by side awaiting admission to the performance when he introduced himself.  Ben went on to say that he'd been studying percussion and would like to play for my troupe of dancers.  I agreed to audition him, was delighted by his talent and we fast became friends.

That's Nagwa (front and center) with her troupe of dancers
performing "El Raks Sai'd" @ the Annenb erg Center, Philadelphia

[Long story short, I was a fan of Nagwa Said since 1982 when I met her teaching a charming scarf dance at a week-long training session at the Bellevue in San Francisco produced by the legendary Jamila Salimpour.  In fact, I still adhere to the dance vocabulary Jamila developed. Read more about Jamila ala her daughter's website ~ go to: Suhaila Salimpour.]

But I digress.... Inspired by many (all) pages of Layne Redmond's book, I particularly resonated with p. 102 related to the 'birthing chapel' at the temple complex dedicated to the Goddess Hathor so when I had the good fortune to visit Egypt in 2007, I made certain Dendera was on the itinerary!   Much to my surprise upon seeing the Temple of Hathor, tears welled up in my eyes and then streamed down my cheeks.  I was overwhelmed with a feeling I couldn't quite identify, it was as though I was being welcomed "home" and yet, mind you, I am an American woman born of German and Irish descent who was raised in New Jersey.

Upon returning to the US, I found myself compelled to add a sistrum to my collection of hand percussion instruments.  It would be an understatement to say I was disappointed to discover my research indicated at that time, none were available for purchase ~ at least not like the ones I saw depicted on the temple walls.  I thought "ho hum, that is a shame," shrugged my shoulders and went back to my daily routines.  

A couple weeks later I awoke with a start and sat straight up in my bed.  I kid you not!  It was really startling, as though the Goddess herself had shot an arrow into my heart with a note inscribed detailing my mission to re-emerge the sistrum. I could not ignore nor deny that I had been 'called' and, long story short, permit me to simply say it has been a labor of love and devotion to the Goddess not to mention a bowing with reverence to the temple priestesses of ancient Egypt ~ among them Meresamum, for example.  

It would seem my life-long vocation honoring the rituals, rhythms, and movements of traditions steeped in women's history(herstory) thus led me to being "instrumental" in the re-emergence of a percussion implement played by women at the temples of ancient Egypt. Apparently, it was simply a matter of course ~ dare I say, my destiny.

Now nearly seven years after my visit to Dendera, I am pleased to announce:  The Tahya™ Ceremonial Systrum, manufactured by Mid-East Mfg., replicates the percussion instrument used as rhythmical accompaniment in temple ritual and festival processions in ancient Egyptian culture.  For more information with links to videos, etc., I invite you to visit HathorSystrum.com

* * *

**Benjamin Iobst "Singing Bowls of Tibet"  © '99 Seven Metals Records produced by Randy Crafton, Engineer/Producer/Owner @ Kaleidoscope Sound

Egypt Beckoned....

and I answered "the call."

by Tahya

2007: It was a mid-January morning when my friend Gloriel Leight informed she was contemplating a return trip to Egypt wondering if I'd be interested in joining her. At first, I admit, I did not think it was possible since the departure date was less than 8 weeks away and I had a "full plate" of classes scheduled. Furthermore, what with the holiday season only weeks behind, I was short on cash, and, Egypt, to the best of my knowledge, was not among my top five picks of places I might want to dedicate time and expense. Nonetheless, as Gloriel revealed the itinerary, my interest was piqued. I contemplated the idea and allowed myself to "listen" to my inner guide who seemed to be ever so sweetly nudging me to let go of worry and to feel free to make this excursion. Even though I felt great uncertainty about the reality of managing to pull together the dollars needed for this adventure in a very short period of time, something inside convinced me that if I would only heed the call, the money would follow. I sensed a great "pull" I cannot explain nor could I ignore.