tag:blogger.com,1999:blog-9931753170442669232024-03-13T11:10:59.341-04:00Cold Night; Distant CampfireThere's an expression in Arabic poetry and storytelling...that seeing one's beloved is like a weary desert traveler seeing a distant campfire on a cold night.Kay Hardy Campbellhttp://www.blogger.com/profile/10655646072881460264noreply@blogger.comBlogger98125tag:blogger.com,1999:blog-993175317044266923.post-67921164653970170052021-11-15T20:11:00.003-05:002021-11-15T20:12:42.911-05:00The Sons of Fez are here!<p>Dear readers, It has been ages since I was in here writing. In the meantime, my second novel came out. It is titled The Sons of Fez: A Moroccan Time Travel Adventure. It's set in the old city (medina) of Fez in Morocco. The official description is below:</p><p>Moroccan tour guide Ibrahim brings a busload of students from a summer
Arabic program to stay in the medina (old city) of Fez, right next door
to a newly-opened time portal. When a student goes missing, Ibrahim
looks for him and slips into the past, where they find themselves in a
fight to save the city. Along the way they come face to face with the
mysteries of the medina, where history lives around every corner. </p><p> This is meant to be a fun book, the ultimate cultural immersion excursion.<br /></p><p>You can find it worldwide at on-line retailers, and in 'real' bookstores. Bookstores may not have them in stock, but they will certainly order them for you. Sherman's books in Maine carries them, since I'm a Maine author. Here is the link to it on amazon:<a href="https://www.amazon.com/Sons-Fez-Moroccan-Travel-Adventure-ebook/dp/B095178N4Q">https://www.amazon.com/Sons-Fez-Moroccan-Travel-Adventure-ebook/dp/B095178N4Q</a> <br /></p><p>Here is the cover, designed by Andy Bridge. <br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Ybl0X3r94Vk/YZMEDeViJHI/AAAAAAAAFbk/GsMZivuEQxEgTSToo1Yida8rbOtKJitEwCLcBGAsYHQ/s2048/TheSonsOfFez.ebook.AW.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1280" height="320" src="https://1.bp.blogspot.com/-Ybl0X3r94Vk/YZMEDeViJHI/AAAAAAAAFbk/GsMZivuEQxEgTSToo1Yida8rbOtKJitEwCLcBGAsYHQ/s320/TheSonsOfFez.ebook.AW.jpg" width="200" /></a></div><br /><p>These last two years have been upside down and inside out - my hope is that this book will take you away from all that for a few hours of fun. <br /></p><p><br /></p>Kay Hardy Campbellhttp://www.blogger.com/profile/10655646072881460264noreply@blogger.com0tag:blogger.com,1999:blog-993175317044266923.post-65722175661144466842019-03-12T14:29:00.002-04:002019-03-18T15:37:11.051-04:00Introduction to NIA with Ines Altemose<b>Discover the joy of fabulously fun NIA in Midcoast Maine! </b><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-vDsuW4Tt29c/XIlQ3PVpPHI/AAAAAAAAFLg/K2XMCd-C_XEJT4zLArPjAuAOUNwXIj_4QCLcBGAs/s1600/cropped-ines.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="about:invalid#zClosurez" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><img border="0" data-original-height="378" data-original-width="360" height="320" src="https://2.bp.blogspot.com/-vDsuW4Tt29c/XIlQ3PVpPHI/AAAAAAAAFLg/K2XMCd-C_XEJT4zLArPjAuAOUNwXIj_4QCLcBGAs/s320/cropped-ines.jpg" width="304" /></div>
<br />
<br />
Ines Altemose of Bradley Beach, NJ will teach a special "Introduction to NIA" class in Jefferson, Maine on June 4, 2019. Ines is a Colby College alumna who will be visiting Maine for a 'big' college reunion. This provides us with a perfect opportunity to explore the fabulously fun movement practice of NIA with her. She's even a certified 'Black Belt' Instructor in NIA! Read more about Ines below<b> </b><br />
<br />
<br />
<b>June 4, 2019 - 6:30-8:00 PM<br />Treehouse Studio, Jefferson, Maine<br />Fee: $15 in advance, $20 at the door.</b><br />
<b>See below for details and payment link.</b><br />
<br />
<br />
<br />
<b>What is NIA?</b><br />
<br />
<br />
<br />
<a href="about:invalid#zClosurez" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a>Drawing on the wisdom of dance, martial arts, and healing arts, Nia is a
fabulously fun workout for the body, mind, and spirit.<span style="mso-spacerun: yes;"> A network of certified teachers bring these moves to students around the world. </span>Usually done barefoot to soul-stirring music,
Nia is perfect for anyone who wants to dance to stay fit.<span style="mso-spacerun: yes;"> </span>Nia has been around since 1982 and all Nia
teachers are certified.<span style="mso-spacerun: yes;"> </span>Nia classes
leave you energized, refreshed, and with a smile on your face!<span style="mso-spacerun: yes;"> </span>Good for your brain, too!<span style="mso-spacerun: yes;"> </span>No experience necessary.<span style="mso-spacerun: yes;"> </span>All fitness levels welcome! <br />
<a href="about:invalid#zClosurez" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a>To learn more about NIA: <a href="http://www.nianow.com/">www.nianow.com</a><br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-OCbSBHbd61s/XIfuMOtIBZI/AAAAAAAAFLM/-IpObI788MYqlBoFe43N-y8sOgW790iRACLcBGAs/s1600/Black%2BBelt-2013-09-5832.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="970" data-original-width="1600" height="241" src="https://2.bp.blogspot.com/-OCbSBHbd61s/XIfuMOtIBZI/AAAAAAAAFLM/-IpObI788MYqlBoFe43N-y8sOgW790iRACLcBGAs/s400/Black%2BBelt-2013-09-5832.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">NIA Class</td></tr>
</tbody></table>
<b>What will Ines teach?</b><br />
<div class="MsoNormal">
<span class="MsoHyperlink"><span style="color: windowtext; text-decoration: none; text-underline: none;"><b style="mso-bidi-font-weight: normal;"></b>Ines will lead us through a “Classic Nia”
routine danced to beautiful music.<span style="mso-spacerun: yes;"> </span>This
will be followed by “Nia 5 Stages” a separate practice taking us through human
development: Embryonic, Creeping, Crawling, Standing and Walking.<span style="mso-spacerun: yes;"> </span>Consciously moving through these stages as an
adult re-integrates the physical, mental, emotional and spiritual elements in
such a way that after just five minutes of practice, participants notice
improvements in power, range of motion, and ease in their bodies other forms of
exercise do not affect.<span style="mso-spacerun: yes;"> </span>The process of
realignment allows the body to do what it is designed to do:<span style="mso-spacerun: yes;"> </span>explore its potential, self-heal and grow.</span></span><br />
<br />
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;">About Ines: </span></u></b><span style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;"> Ines </span></span><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;">hails from New Jersey where she regularly teaches NIA. She has been interested in movement and
dance for over 40 years.<span style="mso-spacerun: yes;"> </span>She studied
Middle Eastern Dance and Flamenco and performed and taught Middle Eastern Dance
for many years.<span style="mso-spacerun: yes;"> </span>Upon her first experience
with Nia, Ines was “hooked.”<span style="mso-spacerun: yes;"> </span>The joy and
expressiveness of Nia “spoke” to her and lead to a deepening of her Nia
practice and deciding to obtain a White Belt in 2011 (the first level of
training required for a Nia instructor).<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;">In addition to becoming certified to teach Nia 5 Stages (a separate
movement practice) in 2013, she subsequently earned a Blue Belt in 2014, a
Green Belt in 2015, a Brown Belt in 2016, and a Black Belt in 2018.<span style="mso-spacerun: yes;"> </span>Ines has also been trained in the Nia 52
Moves which are the foundation of the classic Nia routine.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;">In the Spring of 2015, Ines completed training in Nia Wise Moves, a
certification program for working with Seniors offered by Nia Technique in
conjunction with the JCC of Manhattan.<span style="mso-spacerun: yes;">
</span>In 2016 she attended Moving to Heal (M2H) training to add to her
repertoire of offerings.<span style="mso-spacerun: yes;"> </span>M2H is a
gentler form of the classic Nia routine which can be adapted to the
practitioner’s capability of movement whether in a chair or standing up.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;">For more information on Nia,
please visit <span class="MsoHyperlink"><a href="http://www.nianow.com/">www.nianow.com</a></span>.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;">To contact Ines, email <span class="MsoHyperlink"><a href="mailto:ialtemose@gmail.com">ialtemose@gmail.com</a></span></span></div>
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UnhideWhenUsed="true" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 9"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="header"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footer"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index heading"/>
<w:LsdException Locked="false" Priority="35" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
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<b>June 4, 2019 - 6:30 - 8:00pm</b><br />
<br />
<b>Registration in Advance: $15.00 </b>- by check or credit card (use link below for credit card)<br />
<br />
<br />
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<br />
<b>To pay by check:</b> Make the check out
to Kay Campbell and mail to: Kay Campbell, P.O. Box 413 Jefferson, ME
04348. Any questions about the class please e-mail
<a href="mailto:kayhardycampbell@gmail.com">kayhardycampbell@gmail.com</a> or call 617-512-8122.<b> </b><br />
<br />
<b>Registration at the Door: $20.00 -</b> cash or check - Even if you are paying at the door, please secure your spot by e-mailing kayhardycampbell@gmail.com.<br />
<br />
<br />
<b>Class Location</b>: Treehouse Studio, off No. Mountain Rd. in Jefferson, Maine. Conveniently located between Rte. 17 and Rte. 32. For directions: e-mail <a href="mailto:kayhardycampbell@gmail.com">kayhardycampbell@gmail.com</a> or call 617-512-8122.<br />
<br />
<b>What to wear to class:</b> Comfortable clothes - and you can dance barefoot if you like.</div>
Kay Hardy Campbellhttp://www.blogger.com/profile/10655646072881460264noreply@blogger.com0tag:blogger.com,1999:blog-993175317044266923.post-5022840588364170262018-05-21T21:57:00.004-04:002018-05-22T19:21:36.038-04:00Soul Searching - Review of Midnight at the Crossroads<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<b>Midnight at the Crossroads: Has belly dance sold its soul? by Alia Thabit <br /><br />(purchase it on amazon <a href="https://www.amazon.com/Midnight-Crossroads-Belly-Dance-Sold/dp/0997188820/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=&sr=" target="_blank">here</a>)</b></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
This
intriguing work explores a wide range of ideas and issues about the history and
current practice of ‘Belly Dance’, more correctly translated from Arabic as
“Eastern Dance” (<i> Raqs Sharqi).</i> </div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-njVBV1zqIHI/WwN34j1PAAI/AAAAAAAAFFM/5rTXaqCp0EwoYEMr_K5qTgo5r6Zi2DyLwCLcBGAs/s1600/aliathabitcover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="333" height="320" src="https://2.bp.blogspot.com/-njVBV1zqIHI/WwN34j1PAAI/AAAAAAAAFFM/5rTXaqCp0EwoYEMr_K5qTgo5r6Zi2DyLwCLcBGAs/s320/aliathabitcover.jpg" width="213" /></a></div>
<div class="MsoNormal" style="line-height: normal;">
Author Alia Thabit is an educator,
dancer, artist, and musician who shares her story as a thinking dance artist in the
world of Eastern Dance. Her book, which includes more than 40 of her own charming
illustrations, sometimes reads like a memoir, other times like a friendly
conversation. Then it becomes call to arms for dancers to look again at what
brought them into the unique artistic world of Eastern Dance, and to perhaps
approach it differently.<br />
<br /></div>
<div class="MsoNormal" style="line-height: normal;">
An Arab-American from New York, Thabit
watched professional
dancers perform in the once thriving Arab nightclub scene in New York. She learned
how the dancers interacted with both the live musicians playing behind them as
well as the adoring patrons in the audience. The dancers were flirtatious, yes, but they also brought joy and happiness to the audience. Thabit studied with the leading lights of the dance world, and went on to perform and teach.<span style="mso-spacerun: yes;"> </span>As a flute and nay (Middle Eastern end-blown
flute) player, she delved into the music of the Arab world that creates the
drama and passion that fuels the dance. </div>
<div class="MsoNormal" style="line-height: normal;">
<br />
Over the years, Thabit has thought
deeply about the essence of the dances of the Arab world, and about belly dance
in particular. <span style="mso-spacerun: yes;"> </span>Considering her art from
many angles, she sought out new teachers, new aspects of what makes this art
unique, and this book is a result of her years of work. </div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<br />
Like many
other seasoned performers, Thabit has grown frustrated with the world of belly
dance performance outside the Arab world.<span style="mso-spacerun: yes;">
</span>Most all of the clubs in the U.S. closed after 9/11. With few venues in
which to perform, dancers and their students organized festivals and shows, typically
using recorded music. Choreographies supplanted improvisation. Competitions
became popular. Some performers veered away from the music of the Middle East
and used more amorphously ‘eastern’ sounding fusion music.</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-lQz4iYdTi7E/WwN3_gvV72I/AAAAAAAAFFQ/RMdf-1aSxCAahICPwIUd8bq7y_Es56D9gCLcBGAs/s1600/Alia-by-Dunya-L.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="960" height="300" src="https://2.bp.blogspot.com/-lQz4iYdTi7E/WwN3_gvV72I/AAAAAAAAFFQ/RMdf-1aSxCAahICPwIUd8bq7y_Es56D9gCLcBGAs/s320/Alia-by-Dunya-L.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: normal;">
Thabit decries the loss of live
performances and the improvisational aspect of Eastern Dance. She asks the
dance community to step back, think about the dance they are performing, and
reach back to its roots to deepen their art. She explores how belly dance can
help heal trauma. She advocates for the work and ideas of Dunya McPherson of <a href="http://www.dancemeditation.com/" target="_blank">Dancemeditation</a>.
She invites the reader to explore improvisation, ‘slow movement’, and the benefits
of a regular practice. Most of all, she challenges practitioners to bring the
dance not only back to its improvisational roots, but to focus on its
celebratory and healing powers. </div>
<div class="MsoNormal" style="line-height: normal;">
<br />
This book is rich and generous,
and must be savored. Each chapter could be a book in itself and should be read with
as much consideration as the author put into writing it. I can imagine Thabit
teaching workshops on some of the chapters. I would love to discuss the book’s
many assessments, assertions and ideas with my friends involved in the dance. The
book has many links for the reader to follow up on these possible paths of
exploration and deepening, and the author has added a page for additional resources
on her own website <a href="http://aliathabit.com/">aliathabit.com</a>.</div>
<div class="MsoNormal" style="line-height: normal;">
<br />
I recommend this book to anyone
involved in Eastern Dance – as a student, performer and/or teacher. The dance
form is at a crossroads now, and in Thabit’s view, dancers should
revive its old soul and put it to use for the good of humanity.<br />
<br />
- Kay Hardy Campbell </div>
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<![endif]-->Kay Hardy Campbellhttp://www.blogger.com/profile/10655646072881460264noreply@blogger.com0tag:blogger.com,1999:blog-993175317044266923.post-42562138437243203272017-11-22T14:47:00.001-05:002017-11-22T14:47:21.026-05:00A Caravan of Brides UpdateIt is Thanksgiving; a time to express my gratitude about finally publishing the novel, A CARAVAN OF BRIDES in September. It is now available worldwide, in English, 'everywhere books are sold' - from brick and mortar stores (yes you probably have to special order) to Barnes and Noble, Amazon and any e-tailer you can name. You can buy the e-book on many platforms around the world using this link: <br /><br />
<div style="text-align: center;">
<b><a href="https://www.books2read.com/u/4AwQ00" target="_blank">Universal e-book purchasing link</a></b></div>
<br />
Reviewers are all 'positive'. If you have read the book, please consider rating the book and adding an honest review on-line, or write about it on facebook, or send out a tweet. I'm hoping people will use the hashtag #acaravanofbrides on twitter.<br />
<br />
On November 9th, Kirkus Reviews, a firm that reviews thousands of books for libraries and bookstores, gave A CARAVAN OF BRIDES a positive review, and added the distinction of a 'starred' review. Only 10% of books are designated with the Kirkus Star, and this is a very big endorsement for your first-time novelist/blogger.<br />
<br />
To quote from the review (you can read the <a href="https://www.kirkusreviews.com/book-reviews/kay-hardy-campbell/caravan-brides/" target="_blank">full review here</a>):<br />
<br />
"Campbell’s masterful debut novel delivers a story that matches up
flawlessly with real-life aspects of Middle Eastern culture, geography, and
history. The characters are deeply developed, and their stories intertwine with
true events that readers may be unaware of, such as the 1918 flu epidemic and
the 1979 Grand Mosque siege. The storytelling transports the audience to a
foreign place and time with vivid details and timeless themes. As the well-paced
plot moves forward, readers may nearly forget about its destination because they’re
so wrapped up in the journey.
A mesmerizing Middle Eastern tale to
be savored from beginning to end." - <i>Kirkus Reviews (starred review)</i><br />
<br />
The official book launch will take place on December 2nd at 1PM at the Sherman's Book Shop in Damariscotta, Maine. I will post photographs from the event.<br />
<br />
There is so much to be thankful for, indeed. Happy Thanksgiving to you, dear Reader.<br />
<br />
<br /><br />Kay Hardy Campbellhttp://www.blogger.com/profile/10655646072881460264noreply@blogger.com0tag:blogger.com,1999:blog-993175317044266923.post-80882717054409770512017-07-27T12:42:00.000-04:002017-07-27T12:42:44.016-04:00A CARAVAN OF BRIDES Cover RevealThe cover for A CARAVAN OF BRIDES is here! Cover designer Louis Roe worked hard to create the perfect cover for the book. My request was to make it warm and inviting, the antithesis of covers for books about Arabia..the usual veiled women, swords, Arabian steeds, and desert dunes. I wanted an illustrated cover, and Louis is an expert in that style at his day job designing covers for Beacon Press. Here is a wonderful blog post Louis wrote for the blog of Beacon Press about his process: <a href="http://www.beaconbroadside.com/broadside/2017/01/each-cover-design-a-collection-of-small-stories.html" target="_blank">Each Cover Design a Collection of Small Stories</a><br />
<br />
For A CARAVAN OF BRIDES, Louis suggested we incorporate the concept of paper collage, which is a current trend in covers, as it adds a warm, three dimensional feeling. The human figures are hand-painted pieces of paper. The border is hand-drawn. The background is also hand-painted. One of the themes of the book is the pre-modern way of life in Saudi Arabia, in which women wove and sewed their own clothing. The collage and hand-illustrated cover echoes this element.<br />
<br />
The process that Louis went through with the cover was really interesting. First, he read the book. Then he sketched out several ideas for the cover, some really interesting elements of the plot, some just fleeting moments. We focused in on one, and Louis was off and running.<br />
<br />
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<br />
<br />
There was a stretch there where neither of us was working on it. When we returned to finish it, he came up with some new ideas. He finalized it and voila. Now, he's working on the map!<br />
<br />
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<br />
I am so pleased with the result and hope it will be enticing to readers interested in Saudi Arabia.<br />
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<br />Kay Hardy Campbellhttp://www.blogger.com/profile/10655646072881460264noreply@blogger.com0tag:blogger.com,1999:blog-993175317044266923.post-74647813886855180452017-06-05T12:34:00.005-04:002017-06-05T12:36:46.960-04:00Becoming an author<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-mtlZQaETfhU/WTWHlrqt4uI/AAAAAAAAE_o/V3DJNHAAsSMAcIr-x1FciwI1HMWq508VQCLcB/s1600/IMG_0613.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://3.bp.blogspot.com/-mtlZQaETfhU/WTWHlrqt4uI/AAAAAAAAE_o/V3DJNHAAsSMAcIr-x1FciwI1HMWq508VQCLcB/s320/IMG_0613.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">My current headshot - will be updated this summer!</td></tr>
</tbody></table>
<br />
In the literary world, one is only an author when one has written and published a book. You can write magazine articles, op-eds, poems, and short stories until you fill a room with manuscript pages, but you are not an author until your work is put into a book.<br />
<br />
If you use that definition, I have been an author for a long time. Back in the 1990's I published a very small print run of a history of the US Consulate General in Saudi Arabia. But I never used that title, perhaps because it was never released publicly. <br />
<br />
When I started the quest of publishing my novel A CARAVAN OF BRIDES, I learned that the title author is reserved for those who have climbed the mountain from writing a book to publication.<br />
<br />
So here I am. Publishing through the small Loon Cove Press, I'm managing the process myself. I've hired editors and designers, revised and revised the manuscript. My to-do list is long and I feel like I'm riding a big old bicycle up a hill, picking up speed each day.<br />
<br />
Today I took the step of setting up an 'author page' on facebook. It's a big day for me, daring to declare publicly that I am indeed, an author. So here is the link to my new author page. Feel free to stop by and 'like' it if you wish. Thank you for reading my little blog, and I plan to write more about this part of the process as the time grows near.<br />
<br />
Here is the link: <a href="https://www.facebook.com/Kay-Hardy-Campbell-Author-1335743593159940/" target="_blank">My Facebook Author Page</a><br />
<br />
<br />Kay Hardy Campbellhttp://www.blogger.com/profile/10655646072881460264noreply@blogger.com0tag:blogger.com,1999:blog-993175317044266923.post-14749945738681188602017-04-07T17:30:00.002-04:002017-04-07T17:30:14.197-04:00Robin Practices SpringWinter has now passed in Maine, though at our place we still have snow here and there, including a respectable snowbank at the end of the driveway.<br />
<br />
As a certified bird call fanatic, I listen every spring for the first robin's full song. It was two days ago that I heard it, full volume. But a few days before that, I heard and watched a robin 'practice' the spring call.<br />
<br />
It was in the afternoon. I had taken a break from my long hours of desk work, and strolled out to our little farm pond, listening for any signs of the robins' song. And wouldn't you know, a very rotund robin with a bright red breast (perhaps a Canadian robin who wintered down here), sat on the fence rail on the far side of the pond. He or she was all puffed out. The next day we were expecting the last snowfall of the season. I must say I was a little down, wishing for it all to be done and for spring to start.<br />
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As I stood still, afraid to frighten it, this little robin started clucking, but at a very quiet volume. The bird seemed like it was practicing all its calls, the warning 'chip chip', some other little cheeps, but very quietly. Then it even started up its full song, but so quiet I could hardly hear it. I kept watching the bird to see if it might be coming from another bird far away, but no. This bird was literally practicing its spring call. Perhaps it, like me, was worried that it would be 'bad luck' to declare it spring just yet. It seemed like it was puffed up with the joy of spring, but was holding it back until the time was right.<br />
<br />
This morning, I stepped out near dawn and was overwhelmed with an orchestra of robins in the forests all around. Later, a flock of raucous red-winged blackbirds came through. And the juncoes seem to have left, save a few stragglers. So it's here at last.<br />
<br />
Maybe there's a lesson in the practice of spring. Maybe we all need to do it!<br />
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<br />Kay Hardy Campbellhttp://www.blogger.com/profile/10655646072881460264noreply@blogger.com0tag:blogger.com,1999:blog-993175317044266923.post-80667913437800522002017-03-01T11:31:00.001-05:002017-03-01T11:31:18.346-05:00Novel in progress - A CARAVAN OF BRIDESIt is with pride, excitement and a great deal of nervousness...that I let my loyal readers know that I've decided to self-publish my novel about Saudi Arabia, with the title A CARAVAN OF BRIDES. In the last year I hired a developmental editor and have been finalizing revisions ever since. Now I am searching for a copy editor and a book cover designer.<br />
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My goal is to have the book ready late this summer, on Kindle and hopefully other e-book platforms, as well as a small print run.<br />
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This book has been in the making for two decades. It started out as a series of short stories about my time living in Saudi Arabia, and it gradually morphed, through many iterations, into its current form, which is a multi-generational saga focused on the friendship between two Saudi women: a college graduate and an elderly storyteller.<br />
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Even writing this blog post seems to mark a milestone. So, as I proceed in the process I will keep you updated.<br />
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In the name of God the Merciful the Beneficent. May it begin!Kay Hardy Campbellhttp://www.blogger.com/profile/10655646072881460264noreply@blogger.com0tag:blogger.com,1999:blog-993175317044266923.post-74824634672388653202017-02-07T17:39:00.003-05:002017-02-07T17:39:39.420-05:0014th session of the Arab Dance Seminar filling upOnce again, I'm posting about the upcoming Arab Dance Seminar. It doesn't take place until November 3-5, 2017, but registration just opened up and it always sells out quickly.<br />
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This year it's taking place in Dearborn, Michigan at the Arab American National Museum. The area is filled with Middle Eastern eateries and culture, and participants will be able to enjoy a more 'organic' cultural experience. In addition, Dearborn/Detroit is a fabulous airline hub for travelers. If you are thinking of signing up, don't delay!<br />
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This year's theme about the dance of minorities will be really interesting for me to tackle since I focus on the dances of women of the "Gulf" (Arabian Gulf). I want to include some really amazing roots dances that are rarely studied and performed. It is easy to think of the Gulf countries as monolithic desert societies, but they are varied and are influenced by minorities who have lived there for many years. The Gulf is geographically at a global crossroads, bringing people in from all over.<br />
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<b><a href="http://www.arabdanceseminar.com/">14th Arab Dance Seminar Link to website to register</a></b><br />
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Here is a recent video of the Arab Dance Seminar, with some clips from my classes teaching "Khaliji" dance.<br />
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<br />Kay Hardy Campbellhttp://www.blogger.com/profile/10655646072881460264noreply@blogger.com0tag:blogger.com,1999:blog-993175317044266923.post-42633995831731414432016-11-30T10:40:00.001-05:002016-11-30T14:53:32.668-05:00November's GrayA group of writers meets in our town, and we share essays and other short writings that we read aloud to each other. It's not a critique group. People read poetry, short stories and essays, and occasionally a book chapter. We meet in a cozy home with a jolly wood stove. I brought this essay to our last meeting a couple of weeks ago. I tried to capture the last golden moments of autumn here.<br />
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In the city, November’s gray is
cold. It surrounds you on the streets and sidewalks. Gray concrete buildings
rise toward only a sliver of faintly aqua sky. And at ground level, tiny
cherished city gardens here and there attempt to offset the dreariness of the
urban tomb.<br />
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Lucky we are in Maine. On a
country road, of a mild sunny afternoon in November, a delicate palette of gray
lies all around. Set off by pale green fields rolling by, a wide blue sky above,
lit by the slanting sun from the south, our grays have texture, shadow and
shape. Next April we will be so weary of gray, but now it has a kind of glory,
speaking of centuries, eons. </div>
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These grays are best in the late afternoon
sunlight. The south sides of the tree trunks blaze and you can examine the
barks of elfin corduroy maple, elephant leg beech and fizzured oak. Old
gnarled apple trees pose in the orchards, their silver gray dancer arm
branches still clutching handfuls of golden leaves. </div>
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Now that most leaves have fallen,
hidden woodpiles and boulders appear once more along roads and paths. The
character of each stone wall is laid bare now, every one as distinct as an
old person’s face. Some are piles of small stones, others built with huge
lichen-splotched boulders. Some wave with the passing years’ frost heaves.
Others are steadfast and strong, but all are haven of chipmunks, snakes and
mice. In the low sun they are sculpture and scripture of form and shadow. </div>
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Even the gray paved and gravel
roads in the country delineate the fields and forests, neutral picture frames
of each field’s color. And at some point in the season, the yellow stripes down
their middles match the still golden maple leaves perfectly. </div>
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It is good to contemplate
November’s gray, in the country on a sunny day. </div>
Kay Hardy Campbellhttp://www.blogger.com/profile/10655646072881460264noreply@blogger.com4tag:blogger.com,1999:blog-993175317044266923.post-60634800875804414982016-09-18T20:46:00.001-04:002016-09-24T20:50:15.098-04:00Shining Stars of Shoma<a href="https://2.bp.blogspot.com/-Hhnpr3QJ_VY/V-AF5t7a3hI/AAAAAAAAE0g/lUXZ3jwnOv8QiNodDOvVC2ujneSHWP67QCLcB/s1600/Shoma%2BPost%2BCard%2BFront300.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="https://2.bp.blogspot.com/-Hhnpr3QJ_VY/V-AF5t7a3hI/AAAAAAAAE0g/lUXZ3jwnOv8QiNodDOvVC2ujneSHWP67QCLcB/s320/Shoma%2BPost%2BCard%2BFront300.jpg" width="320" /></a>It's less than two weeks to Opening Night for Shoma, a Storytelling Dance Theater Journey to the Desert. Information and tickets <a href="http://www.thelabtheater.org/jawaahir-dance-company" target="_blank">here. </a><br />
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The dancers and actors are rehearsing in Jawaahir's studio. The musicians are working on their material. The seamstresses are sewing, the actors and dancers are pulling the details of their costumes together. Director Hilary Stellner Smith and Cassandra Shore are directing all the myriad facets of the production. Assistant Director and Stage Manager Shannon Russell is wearing many hats, as an understudy, reading the parts of others in absentia, generally working non-stop.<br />
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This production has so many stars and outstanding performers and contributors that it's impossible to give them adequate homage. Here is a run down of some of the extraordinary individuals who will be part of the show, both on and off the stage.<br />
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<b>Dance:</b> In addition to Cassandra Shore and her incredible company,
Donald LaCourse, the Artistic Director of Minnesota's Ethnic Dance
Theater, will be playing a featured theatrical and dance role. Read
about Don <a href="http://www.ethnicdancetheatre.com/about/artistic-director/" target="_blank">here</a>. <br />
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<b>Musicians: </b>The orchestra playing in Shoma is a veritable who's who of performers in the genre of Arabic music. They learn the show material <u>by ear</u>, the traditional way musicians in the Arab world learn music. Many of them are have national and international reputations. While they seem to be somewhat lean on websites, they are long on talent. The Jawaahir audiences are in for an extraordinary musical extravaganza.<br />
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<b>Georges Lammam </b>leads the ensemble. Based in California, Lammam is a beloved virtuoso violinist who brings passion to his playing. He is one of the reasons Jawaahir audiences are so loyal year after year. <a href="https://www.facebook.com/GSLammam/" target="_blank">George's facebook page.</a><br />
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<b>Naser Musa </b>will be singing and playing oud. Naser is a specialist in the music of the Gulf and Saudi Arabia, and produced a CD of music from the region. He also composes and has worked in film as well. <a href="http://nasermusa.tv/" target="_blank">Naser's website.</a><br />
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<b>Michael Ibrahim</b> is the conductor of the National Arab Orchestra of Ann Arbor, Michigan. He is an extraordinary performer on Arabic wind instruments including nay (end-blown reed flute) and mizmar (the closest thing to an oboe in Arabic music), as well as oud. In Shoma he'll be playing nay....and here is video of him conducting and playing nay - a composition entitled <a href="https://youtu.be/Yr63CTE82qs" target="_blank">Fatafit al-Sukkar.</a><br />
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<b>Susu Pampanin:</b> A leading Arabic percussionist from California, Susu wows audiences around the country with her polished and powerful style. Here is a video of <a href="https://youtu.be/bx0QSrJ9Fm0" target="_blank">Susu and the Cairo Cats</a>. (She's the lead percussionist).<br />
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<b>Miles Jay: </b>Miles plays double bass, composes, and makes instruments. He has been a key player in the Nile Project. It is hard to summarize all Miles' talents and the projects he is pursuing around the world. In addition to performing with global artists, he composes, arranges for film, and performs for film as well. Here is his website: <a href="http://www.milesjay.com/" target="_blank">Miles Jay website</a> <br />
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<b>Jim Grippo: </b>Jim hails from California, where he has been playing Middle Eastern music on oud and qanun for twenty years. He will play qanun for Shoma. Jim is pursuing a PhD in ethnomusicology, and teaches at Ventura College. He performs regularly with the Middle East Ensemble at the University of California- Santa Barbara, and has performed with <span style="font-family: "times new roman" , serif; font-size: 12pt;">Georges
& Elias Lammam, Souren Baronian, Rowan Storm, Afif Taian, and Naser Musa</span>. Here he is on video: <a href="https://youtu.be/b2D9egAVNdc" target="_blank">Jim Grippo on Qanun</a><br />
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<b>Tim O'Keefe: </b>A Minnesota-based multi-instrumental percussionist and oud player, Tim has been playing with Jawaahir for years, and is a mainstay of many productions. Tim performs with several Minnesota groups across music genres and teaches percussion. <br />
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<b>Laura Harada: </b>Ms. Harada plays violin in many genres and styles, from classical European to tango and beyond. She has been playing Arabic music since at least 1997, and is a regular in Jawaahir shows. She played violin in the first Shoma, back in 1998.<br />
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<b>Yaron Klein:</b> This is Yaron's first performance with Jawaahir. Born in Haifa, Yaron earned his PhD at Harvard in Arabic Language and Literature; his thesis topic bridged language and music. He plays both oud and violin, but in Shoma he will join the violin section. When he is not playing music, he is a professor of Arabic at Minnesota's Carleton College. <br />
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<b>Set design:</b> Saudi-American artist Hend Al-Mansour has created a unique tent divider for the scenes set in a desert encampment. Her website: <a href="http://www.hendalmansour.com/" target="_blank">Hend Al-Mansour</a><br />
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<b>Lighting</b>: Jeff Bartlett is legendary in Minnesota for his stage lighting. When Shoma was performed in 1998 at the Southern Theater, Bartlett's lighting added fantastic effects and gave the show its extraordinary feel. Once again, he'll be conjuring up his magic.<br />
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<b>Sound Engineer: </b>Stephen Spaise has worked on several Jawaahir productions. He is also a percussionist and has been playing world music (especially Middle Eastern music) for 25 years. He performs with several ensembles in the Twin Cities.<br />
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<b>Costumes: </b>Eileen O'Shaughnessy has been contributing her costuming talents to many Jawaahir productions, and Shoma is no exception. Her work on the original Shoma will once more be in the spotlight. Shannon Russell and Lori Wilczek are also sewing up a storm for new costumes and new actors/dancers.<br />
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If you are within traveling distance to Minneapolis, try to make it to Shoma to see these fantastic stars shine.<br />
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<br />Kay Hardy Campbellhttp://www.blogger.com/profile/10655646072881460264noreply@blogger.com0tag:blogger.com,1999:blog-993175317044266923.post-291484064581101102016-09-14T16:33:00.000-04:002016-09-14T20:50:12.343-04:00Karim Nagi, lead actor in Shoma!Karim Nagi, an Egyptian-born American citizen, is playing the lead male acting role in Shoma, a dance theater and storytelling show being produced by the Jawaahir Dance Company of Minneapolis September 29 - October 2nd at the Lab Theater. (Buy tickets <a href="http://www.thelabtheater.org/jawaahir-dance-company" target="_blank">here.</a>)<br />
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Nagi plays the role of Badr (which means 'full moon' in Arabic). To say the least, it is a thrill to have Karim taking this part in the show. He is a multi-talented artist who extends his work beyond expected boundaries. His rare combination of abilities takes him around the world in his passionate quest to share many facets of Arab culture. He is a musician, public speaker, actor, poet, teacher, dancer, composer, and producer. Here is a link to <a href="http://khcampbell.blogspot.com/2016/09/karim-nagi-lead-actor-in-shoma.html" target="_blank">Karim's website.</a> His latest project is "Detour Guide", storytelling with music and visuals. website: <a href="http://www.detourguide.net/" target="_blank">Detour Guide</a><br />
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Nagi is always searching for new ways to express himself and his ideas. In Shoma, he will act, perform folk dance, recite poetry, and play Arabic music. And, most importantly, he'll bring his outsize personality and charm to the role of Badr. <br />
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Shoma is not Nagi's first Jawaahir show. He started out, in his words, as a 'Riqq Man' (playing the riqq - Arabic tambourine). Later he did solo dance performances. And now, he will be an actor.<br />
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Below is Karim's video artist's profile. <br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Vso-7zQpJGA" width="560"></iframe>Kay Hardy Campbellhttp://www.blogger.com/profile/10655646072881460264noreply@blogger.com0tag:blogger.com,1999:blog-993175317044266923.post-62121321749004810692016-09-04T16:42:00.003-04:002016-09-08T11:19:23.121-04:00Who is Shoma?The <a href="http://www.jawaahir.org/">Jawaahir Dance Company</a> of Minneapolis is staging a dance and theater and music show entitled SHOMA, from September 28 - October 2, 2016. The performances will take place at the Lab Theater, and you can purchase tickets <a href="http://www.thelabtheater.org/#!jawaahir-dance-company/m6ww1">here</a>.<br />
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A combination of storytelling, theater, dance and music, SHOMA is about love, weddings, marriage, blackmail, and social media, set at a henna party in an un-named modern Saudi Arabian city.<br />
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Here is the official blurb about the show...<br />
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<span class="_4n-j fsl">Cassandra and Jawaahir Dance Company are proud
to present Shoma, a dance theater extravaganza set during a bridal henna
party in Saudi Arabia. A storyteller named Shoma entertains the bride’s
guests with a Bedouin folktale. She tells the story of an independent
shepherdess who gets lost in a sandstorm, only to find herself in a
magic garden. Like all go<span class="text_exposed_show">od
storytellers, Shoma tailors her tale to fit the occasion. In this case,
the bride’s reputation is threatened with public scrutiny. Will the
Bedouin shepherdess find her way home? Will the modern day wedding go
off as planned? Join Jawaahir to see it all play out!</span></span><br />
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<span class="_4n-j fsl"><span class="text_exposed_show">So who is Shoma?</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;">Sarah Jones-Larson plays the Arabian storyteller, Shoma.</td></tr>
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<span class="_4n-j fsl"><span class="text_exposed_show">Shoma is the name of the lead character in the show, and it's also the name of a real Saudi storyteller. She was born among the Huwaitat bedouin tribe of northern Arabia sometime in the early 20th Century. She was the niece of the famous bedouin chiefton Auda Abu Tayy (the character played by Anthony Quinn in the film Lawrence of Arabia). I learned about her when I was living in Saudi Arabia in the late 1970's. She had just passed away, so I never got to meet her. However, here's what I learned from a Saudi friend, and later from some members of her family. She ran away from home 'for reasons of love'. She took refuge in an oasis city and gradually made her way to the big city of Jeddah, and lived out her life telling stories about the desert. And one more thing, she was under the personal protection of modern Saudi Arabia's first ruler, Ibn Saud. </span></span><br />
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<span class="_4n-j fsl"><span class="text_exposed_show">We called the show "Shoma" strictly based on that character. The show does not deal with her own story, but rather conjures up a story she might have told if she were alive today. </span></span><br />
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<span class="_4n-j fsl"><span class="text_exposed_show">The word "shoma" means "club" or "thick stick". I'm told that the Bedouin often named their children after harsh things to protect them from evil. </span></span><span class="_4n-j fsl"><span class="text_exposed_show">Interestingly, "shoma" also means "you" in a formal or plural sense in Farsi, the language of Iran.</span></span><br />
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<span class="_4n-j fsl"><span class="text_exposed_show">The real-life Shoma provided inspiration for a character in my novel, A CARAVAN OF BRIDES, set in Saudi Arabia. In fact the show script flowed from a very early version of the novel, which I hope to publish in its final form in 2017. </span></span><br />
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<span class="_4n-j fsl"><span class="text_exposed_show">Minneapolis actress and voice-over expert Sarah Jones-Larson (owner of <a href="http://schoolofvoiceover.com/">School of Acting and Voice Over</a>) plays the role of Shoma. A member of Jawaahir Dance Company since 1994, Sarah acted the part in the 1998 production, and now brings her added experience to bring Shoma to life on stage again. Sarah is a fantastic Shoma. </span></span><br />
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<span style="font-family: inherit;"><i><span style="font-size: 10pt;"></span></i><i>"I adored playing Shoma in
1998," </i>Sarah says,<i> "and it's a lot of fun to revisit her now. Over the years, my
approach has changed, and I keep finding new worlds in the text. I love the
script updates from Kay and the new dances from Cassandra. It's going to be a
wonderful show!" </i></span><br />
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-qZRWYpBAjPE/V812muipYII/AAAAAAAAEz8/iYkhXyRmU_0KOEJSSjay5i51gZRw8w5bgCLcB/s1600/Sarah.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://4.bp.blogspot.com/-qZRWYpBAjPE/V812muipYII/AAAAAAAAEz8/iYkhXyRmU_0KOEJSSjay5i51gZRw8w5bgCLcB/s320/Sarah.jpg" width="212" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sarah Jones-Larson will portray Shoma</td></tr>
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<span style="font-family: inherit;"><i> </i></span>You can read more about Sarah and other key players such as our director Hilary Stellner Smith in an article by Patricia Cumbie in the Summer 2016 Jawaahir newsletter, Beledi Beat <a href="http://jawaahir.org/resources/Beledi%20Beat/Beledi%20Beat%202016-3%20Summer.pdf" target="_blank">here.</a></div>
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<span class="_4n-j fsl"><span class="text_exposed_show">With a twinkle in her eye, and a lilting voice, Sarah captivates her audiences and sweeps them off with her to the desert. There is no more perfect leading lady for SHOMA!</span></span><br />
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<br />Kay Hardy Campbellhttp://www.blogger.com/profile/10655646072881460264noreply@blogger.com0tag:blogger.com,1999:blog-993175317044266923.post-63819707800924128992016-09-04T15:49:00.000-04:002016-09-05T13:45:50.525-04:00Shoma is Back - Thanks to the Jawaahir Dance CompanyOne sunny morning in the depths of winter, 2016, my good friend Cassandra Shore called. The wood stove was humming, and the bright snow outside lit up the house inside. She was calling with an idea. Cassandra is not only my friend, she is also the Artistic Director of the acclaimed <a href="http://www.jawaahir.org/">Jawaahir Dance Company</a> of Minnesota. She was calling in her official capacity, wondering if I'd be interested in working on a new revised production of SHOMA, a dance theater project that Jawaahir staged back in 1998. <br />
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I was thrilled with this proposal. SHOMA was a landmark project for me, and I believe it was for Jawaahir as well. I wrote the skeletal script for the 1998 production, and directed the all-female orchestra that performed for the show. I created all the musical arrangements, wrote out the scores (many by hand), and directed the group. I sang lead vocals and played oud. We all stretched ourselves in that production, and it paid off in spades. With lots of excitement and fabulous preproduction press, including a feature article in the Minneapolis StarTribune by Mike Steele...then full length reviews in both the Tribune and the St. Paul Pioneer Press, SHOMA sold out nearly every show.<br />
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I have so many good memories of that show. Sitting in the orchestra section, one gets a sideways view of it. Soon the rhythms, the dances, the specific lines and pauses, the lighting changes (all orchestrated by the incomparable Jeff Bartlett at the Southern Theater) were a living thing that we experienced and savored each time. I remember one show where an artist sat in the front row and sketched it. At another sell-out, the audience was raucous and seemed to have a hard time remaining seated. It was clear that many of them were repeat attendees.<br />
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-6WiXzvnD5nU/V8x6dkop6NI/AAAAAAAAEzc/LlJ8vCQloAc7HefxpMmnPTvEb7_JxqaZQCLcB/s1600/big%2Bnecklace%2Bvertical150.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://3.bp.blogspot.com/-6WiXzvnD5nU/V8x6dkop6NI/AAAAAAAAEzc/LlJ8vCQloAc7HefxpMmnPTvEb7_JxqaZQCLcB/s320/big%2Bnecklace%2Bvertical150.jpg" width="285" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The huge bedouin necklace that appears in one of my favorites - The Necklace Dance</td></tr>
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Years later, I learned that many people who came to see SHOMA were inspired to begin studying Oriental Dance because of it. Some later joined the dance company and recall their first experience was SHOMA. My family members who attended still remember their favorite dances. The 1998 stage manager, Hilary Stellner Smith, tells me that was her first experience working with Jawaahir.<br />
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Sarah Jones-Larson, who played the title role in the 1998 run, was willing to reprise her work in the new show. And Smith is now the director of the new production. Helen Voelker, the original Muna/Munira - the leading lady in the drama, will now play the mother of the bride. Several dancers from the original show are going to be in this version, including Cassandra Shore. My friend and colleague, Egyptian-American actor, poet, musician, dancer and educator <a href="http://www.karimnagi.com/">Karim Nagi</a>, will play the male lead theatrical role of Badr. <br />
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Instead of me leading a small women's music ensemble, this time the all-star orchestra that accompanies Jawaahir shows these days will be making the music. Led by Georges Lammam, the group will feature Naser Musa, an expert in the music of the Gulf. This dream team will create blissful music for these much loved dances.<br />
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After rewriting the script over the winter and helping Cassandra with a few musical issues, I was preparing to fly out to Minnesota to watch the production in September. Then, in June, she called again. Unbeknownst to me, Jawaahir had won a choreography grant from the Metropolitan Regional Arts Council, for me to create a dance for them using the folkloric dances of Saudi Arabia and the Gulf. I choreographed the finale for the show. It seemed that once again, Shoma was beginning to make its magic.Kay Hardy Campbellhttp://www.blogger.com/profile/10655646072881460264noreply@blogger.com3tag:blogger.com,1999:blog-993175317044266923.post-77324494763485247592016-06-16T21:37:00.003-04:002016-06-21T10:10:00.105-04:00Samantha Burnstein's Khaliji Dance Project<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-wqJZ-jUpSHs/V2AvO2XGvUI/AAAAAAAAEyA/uBcI2P-F9qw6NvegN2XozY3NhXWZVNiXgCLcB/s1600/Samantha.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://3.bp.blogspot.com/-wqJZ-jUpSHs/V2AvO2XGvUI/AAAAAAAAEyA/uBcI2P-F9qw6NvegN2XozY3NhXWZVNiXgCLcB/s200/Samantha.jpg" width="172" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Samantha Burnstein</td></tr>
</tbody></table>
Samantha Burnstein is a Montreal-based expert in and enthusiast of folkloric dance from the Middle East who studied anthropology and researches dance ethnology. She teaches and performs all manner of dances from the Middle East, and also directs the dance company <a href="http://www.sanaafolklore.com/">Sanaa Dance</a>. This group excels at the dances of North Africa and the Arabian Gulf (the "Khalij"). Samantha is also a silversmith who designs her own jewelry which you can find in her Etsy store, <a href="https://www.etsy.com/shop/SaraMaliJewelry">Sara Mali Jewelry</a>. It was a delight to speak with Samantha about one of her recent dance projects.<br />
<br />
In 2012, her dance troupe had the unique opportunity to travel to Dubai where they performed at a place called "Global Village". There they performed three shows and a workshop every night, and also performed in schools. They presented dances from Morocco, Egypt and one dervish style number. They were one of many groups performing folk dances from around the Middle East. <br />
<br />
When the <a href="http://www.bellydanceblossom.com/">Bellydance Blossom Festival</a> in Toronto put out a call for explorative and collaborate performances, she proposed a collaborative performance of Khaliji women's dance and performed it at the festival in April, 2016.<br />
<br />
<b>Q - What inspired you to organize this Khaliji dance project?</b><br />
<div class="MsoNormal">
A - I’ve wanted to do something like
this for a long time. I do a lot of folklore and I<span style="mso-spacerun: yes;"> </span>dedicate myself to that.<span style="mso-spacerun: yes;"> Yet </span>I feel there’s this gap. Either we see Oriental dancers bringing a short Khaliji section into oriental performances, or we see the overly stylized
choreographed group Khaliji numbers that belly
dancers do. And even with the folklore troupes it’s always the question of how
much should we make it look arranged? I’m pulled in two
directions. The best times I’ve had dancing Khaliji are at a workshop
and it’s a crazy mess of girls or women, or we’re in a studio where we’re just dancing. It's not the performance part that really gets me. So I
thought, "One day, one day I’m going to do it with as many people as I can.”
The festival seemed like the
right moment, so I jumped on that opportunity to try it and see if it would
work and have enough people to do it.<span style="mso-spacerun: yes;"> </span>The festival was asking for explorative or collaborative
work. And I said well I’m a folklorist, I’m not really explorative, but then began to try this number. I threw it out there, and I didn’t know if I’d get
ten people or a hundred and it just went from there.<br />
<br />
The only requirements she asked of those who wanted to take part were that one had to be registered
at the festival and one had to own a 'thobe', (a thobe nashal, the
celebratory over-dress worn by Gulf and Arabian women). In the end, Samantha performed with 29 dancers from Canada and the U.S. She choreographed segments for each group, some with more solo-like parts. They worked together via video and facebook to learn her choreography, had two actual rehearsals at the festival, and then performed it. The result was something she had been aiming for. It was not only an actual performance, but a communal dance experience that bridged pure social dance with an ultra-polished troupe performance.</div>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-NMNY-EsKNtQ/V2AwozNC-JI/AAAAAAAAEyU/EIj2oN41j5sXH6nvMfqMkcJcQDybgQFRgCLcB/s1600/12957114_10154091701463826_1887190096_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://4.bp.blogspot.com/-NMNY-EsKNtQ/V2AwozNC-JI/AAAAAAAAEyU/EIj2oN41j5sXH6nvMfqMkcJcQDybgQFRgCLcB/s320/12957114_10154091701463826_1887190096_n.jpg" width="268" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Waiting to go on stage</td></tr>
</tbody></table>
<br />
<b>Q - How did it turn out? </b><br />
<div class="MsoListParagraphCxSpLast" style="mso-list: l0 level1 lfo1; tab-stops: 81.25pt; text-indent: -.25in;">
A - I was happy about it. I
kept telling them, "Don’t worry about performing. Don’t get hung up
on the performance aspect." I think it came together quite well. There were mistakes
but the feeling was really powerful. Hair was flying everywhere! I just think it’s a
little hard because we are all dancers, and performers. I kept saying, "Don’t get into
performance mode too much. Look at each other." That was a challenge. We’re used
to wanting to get it perfect.I think the
feeling came together. People said, “Wow that was powerful,” but I was a little
distracted trying to get everyone in their place.<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-AtKRpzGjDZI/V2AwbOUduwI/AAAAAAAAEyM/Qe9vpiQE5qwfdwWjpd2u7vK6GlD_U2Z1gCLcB/s1600/12983781_10156838051175192_6828983517627888736_o.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://4.bp.blogspot.com/-AtKRpzGjDZI/V2AwbOUduwI/AAAAAAAAEyM/Qe9vpiQE5qwfdwWjpd2u7vK6GlD_U2Z1gCLcB/s400/12983781_10156838051175192_6828983517627888736_o.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Hair was flying everywhere!"</td></tr>
</tbody></table>
Interestingly, the size of the stage forced her to keep the choreography simple. She used line formations, with various groups taking solo turns. Viewing the video (see the clip below), Samantha made great use of the stage as well as the floor in front of the stage. She framed and surrounded the mini-solos, and also had the dancers clapping at one point. The repetition simplified things and gave it more of a real folkloric character.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-LO4_uofzEF4/V2Aw2zx5F6I/AAAAAAAAEyc/iVb-4KEC1EogfGxsXM_BVDUJNzv1A3ZYACLcB/s1600/12998365_10156838051110192_4968963568563924536_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://2.bp.blogspot.com/-LO4_uofzEF4/V2Aw2zx5F6I/AAAAAAAAEyc/iVb-4KEC1EogfGxsXM_BVDUJNzv1A3ZYACLcB/s400/12998365_10156838051110192_4968963568563924536_o.jpg" width="400" /></a></div>
<br />
Looking back, Samantha said the troupe's experience in Dubai helped confirm her love of performing folkloric dance. She explained. "Seeing the various work of so many different troupes next to one another did help me confirm that I prefer the more authentic and natural dancing, even on stage, or a small mix of staging, over the overly worked dances of some troupes. But this is something I already felt, it was just great to have so many live examples from all over the Middle East right at our fingertips there."</div>
<br />
Below is a video of exerpts from the performance. Congratulations to Samantha and all who took part!<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/pLRoD-jMc8I" width="560"></iframe>Kay Hardy Campbellhttp://www.blogger.com/profile/10655646072881460264noreply@blogger.com0tag:blogger.com,1999:blog-993175317044266923.post-38001221934343190692015-05-19T11:52:00.002-04:002015-05-19T13:37:17.455-04:00Handwritten <!--[if gte mso 9]><xml>
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<![endif]--><span style="font-size: 12.0pt; line-height: 107%;">My mother
loved handwritten correspondence. When we’d return home for a visit, she would
leave a prodigious pile of missives from far-flung relatives by our bedside. The
next morning we would sometimes have to ask, “Who is Cousin Nellie again?” Even with the explanation we wouldn’t necessarily be able to trace our relationship to the writers of the letters we'd read.
</span>
<br />
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<span style="font-size: 12.0pt; line-height: 107%;"><br />We’ve always
lived in different cities from our parents, so we got to appreciate my mother as a
letter writer herself. Not only was her handwriting beautiful – particularly as
she got more proficient at calligraphy – her prose was equally fanciful. Her
personal letters had an original style, full of insider references. Her prose
was distinctive and arcane, sometimes almost secretive. I’d often have to
translate her letters for my husband. I was kind of embarrassed about that
until I found out that my sister had to do the same thing for her husband too. Nonetheless, it is wonderful to read
her letters.<span style="mso-spacerun: yes;"> </span>It’s as if her voice lives inside the
sentences. Not just the sound of them, but you can trace the way her mind
worked in them.<span style="mso-spacerun: yes;"> </span>She pirouetted around a
story, rendering every person and idea somehow ruffly and lacy. I bet she wouldn’t have lasted a day as a
reporter, but in the social pages she would have shone.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%;"><br />For years, my parents wrote ‘round robin’ letters to their siblings, all of whom lived in different parts of the country. They would write (some of them typed) family
news, stick the letter in an envelope and send it on to the next sibling. The
letters kept circulating for years. I don’t remember when and why they stopped
doing it. Every couple of months a thick envelope would arrive and my mom would
devour it. I’d read it, but most of the news wasn’t of interest – it was a lot
of detail from daily life that a young person didn’t find very exciting. </span></div>
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<span style="font-size: 12.0pt; line-height: 107%;"><br />We’ve saved
as many of my parents’ letters that we could. Just this year, we put all of my mother's letters into storage, so there’s nothing to quote to illustrate her voice now. So
I perused one of the family histories she and my father wrote, in the decade before
Internet research was possible. Looking for a fancy and curlicue sentence I
came up dry. She was apparently heavily edited by my father!</span></div>
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<span style="font-size: 12.0pt; line-height: 107%;"><br />When I was
about to give up, I found a gem. Inside the book about my mother’s maternal
grandmother’s line, she had included the text of a letter from my great
grandfather John Born, writing from the battlefield in the Civil War in June,
1864 from Georgia near Marietta and Kennesaw Mountain. Kind of puts things into
perspective. The spelling is all his. He was the son of Swiss immigrants, and
was fighting alongside his brother Ulrich. </span></div>
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<span style="font-size: 12.0pt; line-height: 107%;"><br /><i>“…Well we
got relieved from the scirmich line sometimes in the afternoon<span style="mso-spacerun: yes;"> </span>ordered back a little ways to mache some
coffee<span style="mso-spacerun: yes;"> </span>we had no breakfast nore diner so
you may think we felt a little like eating something in the morning we moved
behind<span style="mso-spacerun: yes;"> </span>the Breastworks<span style="mso-spacerun: yes;"> </span>we where not safe where we made coffee for
there is where Jenser got wounded while we were standing around the fire<span style="mso-spacerun: yes;"> </span>I must go now and eat dinner the Bois got it
ready<span style="mso-spacerun: yes;"> </span>I have now been to diner<span style="mso-spacerun: yes;"> </span>we had Krackers Coffe and Sow Belly for
dinner<span style="mso-spacerun: yes;"> </span>we are now getting as much to
eat as we can handy cook<span style="mso-spacerun: yes;"> </span>Well Ulrich
(his brother) the shooting on the Scirmish Lines is still a going on<span style="mso-spacerun: yes;"> </span>every now a Stray shot coms a whishing in
over breastworks but that nothing to fear….". (ref below).</i></span></div>
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<span style="font-size: 12.0pt; line-height: 107%;"><br />These
sentences are more like facebook updates, or tweets. Obviously he had to write
when he had time. But now these details of life sound fascinating to me. The
language is so different. I like the sentence, “every now a stray shot coms a
whishing in over the breastworks….”.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%;"><br />Flipping
through the volume, I am overwhelmed by the thousands of lives that are
mentioned in this slim book. How many stories each person had, as well as how
many letters they wrote and received. Hopefully, someone in their direct line
has their letters and can still read their voices.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%;"><br />I miss
getting my mother’s letters. They would often arrive out of the blue, for no
particular reason. And then just last month, a beautifully hand-penned envelope
appeared, from the wife of one of our nephews. It was a fanciful card – a
colorful drawing of two cats riding in a sailboat under a full moon. She wrote
only to say she was thinking of us, and wished we didn’t live so far away on
the East Coast – so far from her Oregon family.<span style="mso-spacerun: yes;">
</span>She could have e-mailed and she could have sent a message on facebook.
But she took the time to write. I think I’d better write back!</span><br />
<br />
<span style="font-size: 12.0pt; line-height: 107%;">Quote from page 14, "The Family of John L. Born and Regena Borchers," by Dorothy Regina Hanson, Chiefton Publishing, 1997. </span></div>
Kay Hardy Campbellhttp://www.blogger.com/profile/10655646072881460264noreply@blogger.com0tag:blogger.com,1999:blog-993175317044266923.post-10685005575221470952015-03-19T12:45:00.000-04:002015-03-19T14:37:21.834-04:00Last Day of Winter<!--[if gte mso 9]><xml>
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</xml><![endif]-->With record snowfall in Boston and two feet of snow (to say
nothing of the snowbanks) still in our front yard, it seems like we’re still in
early February. But we’re not. It’s the last day of winter, and it's cold, only fitting to mark the end of a long and
difficult one.<br />
<br />
<div class="MsoNormal">
The phone rings. It’s my friend on the Cape. </div>
<div class="MsoNormal">
<br />
“The red-winged blackbirds are back!” Lately she has been feeding
a lonely robin frozen raspberries each day (thawing them first).<span style="mso-spacerun: yes;"> </span>She recently spotted a
Yellow Rumped Warbler in her yard, and later in the day she forwards me several
photos of two young ravens who were begging food scraps outside a Cape restaurant. </div>
<div class="MsoNormal">
<br />
After a winter of epic storms, record snows and polar vortex
incursions, I am ecstatic to hear more tangible news of spring. The return of the red-winged blackbirds is a reassurance to me that spring may actually arrive after all.</div>
<div class="MsoNormal">
<br />
From about the first of January, I mark the passing of
winter, celebrating each small victory, like the sky is light at 5pm, sunset
after 5pm, double digits of January and then February. I take a deep breath at
mid-winter and start counting the days until it’s officially over.</div>
<div class="MsoNormal">
<br />
For me, the birds are the ultimate harbinger of the changing
seasons. I’m a musician, so I guess sound is my most attuned sense. So I
listen. At first the birds are dead silent in January, but by mid-February, the
cardinals, the song sparrows and even the finches are singing up a storm, celebrating the expanding
daylight.</div>
<div class="MsoNormal">
<br />
This winter of winters, the other usual markers have been
hidden under feet and feet of snow. No crocus tips around Valentine’s Day, no
snowdrops, no perking up of the Lenten Rose, nothing. </div>
<div class="MsoNormal">
So it’s been all about the birds.</div>
<div class="MsoNormal">
<br />
I keep a diary, kind of a journal each winter, tracking the
snows and the temperatures and also, the signs of spring. Started in the winter
of 2004-5, I now have ten years of data on these things. And so when my friend
called with the news of the red-winged blackbirds, I looked back through the
years and found my entry from 2009.</div>
<div class="MsoNormal">
<br />
“3/18/2009 – 60 degrees (!)<span style="mso-spacerun: yes;">
</span>Windy. Heard some red-winged blackbirds in the wetlands off Cushing
Street, walking with Gwen. Lots of crocuses, started yesterday.”</div>
<div class="MsoNormal">
<br />
Then the entry just below it…</div>
<div class="MsoNormal">
<br />
“3/26/09 – Red-winged blackbirds – <u>and </u>a full robin’s
song!”</div>
<div class="MsoNormal">
<br />
So perhaps we’re not so far off track overall, the depth of snow
notwithstanding. </div>
<div class="MsoNormal">
<br />
But will the birds on the Cape come north when there is such
snow cover? Perhaps they’ll wait for the warm temperatures to come north with a
warm front, kicking the Polar Vortex north into Canada.</div>
<div class="MsoNormal">
At least, I know they are on their way. It won’t be long
now.</div>
<div class="MsoNormal">
<br />
But then there is the entry from 2013 – the end of March.</div>
<div class="MsoNormal">
<br />
“Many snowfalls later, it’s almost all melted now. Crocuses
are up, daffs coming. Robins have been singing for about a week. It’s a
slow-arriving coolish spring so far. Ponds and lakes <u>high. </u>On the first
day of spring, we were getting more snow!”</div>
<div class="MsoNormal">
<br />
It’s almost over, whether it’s one day or two weeks. We have
endured, and like the lonely robin in my friend's yard, we just need to hang
on a little while longer. For very soon, we’ll be rewarded with springtime glory. </div>
Kay Hardy Campbellhttp://www.blogger.com/profile/10655646072881460264noreply@blogger.com0tag:blogger.com,1999:blog-993175317044266923.post-28377526352648878672015-02-14T19:51:00.002-05:002015-02-14T19:51:45.557-05:00Birdsong Before the BlizzardSo here we are with 34 days until the first day of spring. We in Boston have had three, or is it four, big snowstorms, and we are waiting for another one to start after midnight tonight. It will be a blizzard until the morning.<br /><br />One of my favorite rituals at this time of year is to start listening to birdsong recordings. Having lost my favorite cassette from the 1990's, I found this beauty on Youtube. It runs for four hours and includes the calls of a wood thrush, my favorite birdsong in the world. I posted about the Wood Thrush last year in fact. How wonderful that folks are posting such beautiful things on Youtube.<br />
<br />So as I wait for the blizzard, with large cooking pots filled with water in case we lose power, I can dream of spring. <br />
<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/WarL4vURLYw" width="560"></iframe>
<br />Kay Hardy Campbellhttp://www.blogger.com/profile/10655646072881460264noreply@blogger.com0tag:blogger.com,1999:blog-993175317044266923.post-15344384262271959552015-01-03T15:10:00.001-05:002015-01-05T16:01:19.215-05:00Good Luck with Your January<a href="http://1.bp.blogspot.com/-3FQTFGqnrb8/VKhMdZMdrhI/AAAAAAAADdk/AWEWl0lrR5s/s1600/reading-by-fire-2.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-3FQTFGqnrb8/VKhMdZMdrhI/AAAAAAAADdk/AWEWl0lrR5s/s1600/reading-by-fire-2.jpeg" height="267" width="400" /></a>We have exactly 28 days, four full weeks, of January ahead of us. In coastal New England, while January is definitely our coldest month; the snowiest months follow. And even if February and March are snowy, January to me is like a deep dark chasm that must be crossed each year. We are standing on a rope bridge, creeping across it, enduring its challenges of cold and darkness, one day at a time. Not many cultural events are planned in January due to the fickle weather. So there is time for writing, thinking, and all manner of indoor projects. Our local AAUW branch has a wonderful tradition. We meet for a pot luck supper luck followed by a book discussion, on a cold night right in the middle of January. This year we are discussing <a href="http://www.goodreads.com/book/show/20723931-an-unseemly-wife">An Unseemly Wife</a> by E.B. Moore, and the author will join us. By month's end, the sun sets around 5PM again, proof that we've endured the toughest part of winter. So, may you pass January with good books, engrossing indoor projects, ways to enjoy being outside, and opportunities to see good friends. May it pass quickly. How do you traverse Januarys?Kay Hardy Campbellhttp://www.blogger.com/profile/10655646072881460264noreply@blogger.com2tag:blogger.com,1999:blog-993175317044266923.post-7534763799037356442014-10-09T14:31:00.000-04:002014-10-10T14:23:15.528-04:00Legends of the Fire Spirits by Robert Lebling<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-Kbasjq053L8/VDbSrEj0loI/AAAAAAAADco/5ldFP9HOjGQ/s1600/Legends.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-Kbasjq053L8/VDbSrEj0loI/AAAAAAAADco/5ldFP9HOjGQ/s1600/Legends.jpg" height="147" width="400" /></a></div>
While doing research for a novel set in Fez, Morocco (and yes it involves jinn), I came across Rob Lebling's excellent book, LEGENDS OF THE FIRE SPIRITS: JINN AND GENIES FROM ARABIA TO ZANZIBAR.<br />
<a href="http://www.amazon.com/Legends-Fire-Spirits-Genies-Zanzibar/dp/1582436320">Amazon listing for the book</a><br />
<br />
LEGENDS OF THE FIRE SPIRIT is a fascinating compendium that gives the reader a multi-faceted view of the jinn. It covers many centuries of lore and history, tracing origins of the jinn in mythology and religion. It does a great service in delving into how the jinn appear in Islam, and then introduces the reader to the jinn legends through specific countries in the Middle East, from Morocco to Turkey and Iran. In addition, it traces how jinn have been written about in western literature. <br />
<br />
Personally my favorite part of the book is the transcription of an interview with a jinn, as well as the specific descriptions of the various jinn of Morocco. And then there's the wonderful foreward by author Tahir Shah. <br />
\<br />
Whether you are curious about paranormal beings, or are interested in the topic of jinn specifically, I recommend this book. It is full of detail and covers a wide range of topics, reflecting years of dedicated research by Lebling. This book is truly a labor of love. Lebling maintains a facebook page in which he updates people on news of the jinn. <a href="https://www.facebook.com/pages/Legends-of-the-Fire-Spirits-The-Book/138384562860618?fref=nf">Legends of the Fire Spirits Facebook Page</a><br />
<br />
When I wrote to him about how the book was doing, he responded, <br />
<br />
". The book has done well for such a specialized topic. The UK
hardcover edition has sold out, I think, and it went into paperback
there last March. There is still a US paperback edition in print by
Counterpoint. I think jinn lore is on the verge of going viral.... there
have been a few horror films on the subject over recent years. The
ScyFy channel was interested in doing a documentary on jinn phenomena,
and contacted me shortly after publication, but they shelved the idea
for the time being.... I think people are always looking for new
concepts to expand their imaginations. Vampires and zombies have done
the job. Maybe jinn are next!"<br />
<br />
Lebling has also published a novel of the paranormal set in Saudi Arabia. The title is THE ANOMALY: A Novel of the Empty Quarter - you can read it on his blog - here is the link to <a href="http://theanomalynovel.blogspot.com/2012/09/chapter-1.html">Chapter One</a>. He is planning to publish it as an e-book once the serial version has been published (the story is complete - he's just doling it out on his blog as a serial). He also has a couple of novels in progress including a post-industrial fantasy set in Arabia.<br />
<br />One of Rob's other interests culminated in his work, NATURAL REMEDIES OF ARABIA. Here is a link to the book on <a href="http://www.amazon.com/Natural-Remedies-Arabia-Robert-LEBLING/dp/1905299028/ref=sr_1_2?s=books&ie=UTF8&qid=1412878540&sr=1-2&keywords=robert+lebling">Amazon.com</a><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-rF0Mi9fYOak/VDbSzhmLCdI/AAAAAAAADcw/MsXvdhbm5qk/s1600/Rob%2BLebling.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-rF0Mi9fYOak/VDbSzhmLCdI/AAAAAAAADcw/MsXvdhbm5qk/s1600/Rob%2BLebling.jpg" height="263" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rob Lebling and feathered falcon friend - somehwere in Saudi Arabia</td></tr>
</tbody></table>
I don't know Rob personally, but we both write for Saudi Aramco World magazine. He has a wide range of interests that he shares with readers through his blog, his books and his features in Saudi Aramco World. He currently lives in Dhahran, Saudi Arabia and works in public affairs for Sadara Chemical Co., a jv between Dow Chemical and Saudi Aramco. <br />
<br />Kay Hardy Campbellhttp://www.blogger.com/profile/10655646072881460264noreply@blogger.com0tag:blogger.com,1999:blog-993175317044266923.post-60231314481652268562014-06-08T17:36:00.002-04:002014-06-08T20:33:58.944-04:00Wood Thrush SerenadeReaders of this blog know I'm a bird-call fanatic. I can name them all, like the instruments in an orchestra. But there is one bird's call that is above the rest; the call of the Wood Thrush. This summer we have one in our neighborhood. He or she sings in the evening and in the early morning. In the mornings it has been blissful to wake up to the serenade. I can scarcely believe we are being treated to these concerts each day. We have our windows open and the song begins even as we are sleeping. It is so special to me to hear this song; one of nature's most amazing gifts.<br />
<br />
Henry David Thoreau wrote this about the Wood Thrush, in 1853, "This is the only bird whose note affects me like music. It lifts and
exhilarates me. It is inspiring. It changes all hours to an eternal
morning." In his journals he wrote, "The wood thrush is a preacher who "makes a sabbath out of a week day." I agree completely.<br />
<br />
Here is a Wood Thrush singing at the Mount Auburn Cemetery near Boston.<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/FnTKO6uurG8" width="560"></iframe>Kay Hardy Campbellhttp://www.blogger.com/profile/10655646072881460264noreply@blogger.com0tag:blogger.com,1999:blog-993175317044266923.post-64362118649805723712014-03-05T17:29:00.000-05:002014-03-05T17:29:02.715-05:002014 Arab Dance Seminar Filling Up Fast<div class="separator" style="clear: both; text-align: center;">
<img border="0" src="http://2.bp.blogspot.com/-q7AxQuF22a0/UxekXDGjoII/AAAAAAAADZQ/-ddW0w5b8LE/s1600/ADS_14_front.jpg" height="236" width="320" /></div>
<br /><br />This November's <a href="http://www.arabdanceseminar.com/">Arab Dance Seminar </a>is already 75% full. Why? Because we have the added boost of Aisha Ali as an instructor. One of the pioneering dance ethnologists who traveled to Egypt in the early 1970's, Aisha recorded and filmed Egyptian folk dancers and produced an LP of their music. She is an authority on dance in Egypt. Second reason: the topic is <span style="color: #3333ff;"><span style="font-size: small;"><i><span style="color: black;">THE DANCE OF POLITICS :
How Politics, The Law, and Social Codes Affect Dance in the Arab World.<br /></span></i><span style="color: black;">The seminar will run from November 7-9, 2014 and takes place in Albuquerque, New Mexico. Join us, it promises to be an amazing weekend! If you are at all interested, act fast because it always sells out very quickly.<br /><br />A link to the website, where you can register, is <a href="http://www.arabdanceseminar.com/">here.</a><br /><br /></span></span></span>Kay Hardy Campbellhttp://www.blogger.com/profile/10655646072881460264noreply@blogger.com5tag:blogger.com,1999:blog-993175317044266923.post-30263404936514160892014-02-23T11:57:00.000-05:002014-02-23T17:47:48.636-05:00Haydn SunriseThe final weeks of this tough winter have been a challenge for all. The other day I needed a pick-me-up while running errands so I popped a CD into the car. It has become a favorite of mine in the last couple of years. It features big orchestral pieces by Mozart, Gluck and Michael Haydn using the so-called Alla Turca style... with lots of oboes, clarinets, cymbals, triangles, kettle drums, military marches and instrumental ornaments. The most famous of this genre is Mozart's overture to his opera, Abduction from the Seraglio.<br />
<br />
Each time I listen to this CD, I love it more. The sheer bravado and joy, and the wake-you-from-the-dead energy gets my blood pumping.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-LF8gqHWpOuE/Uwol9J7wC-I/AAAAAAAADYw/8h_vPy0duDk/s1600/Sunrise.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-LF8gqHWpOuE/Uwol9J7wC-I/AAAAAAAADYw/8h_vPy0duDk/s1600/Sunrise.jpg" height="225" width="400" /></a></div>
<br />
One piece is different from the others. It is a slow 4/4 - not really a march, but it has the pace of a person walking. Hearing it, you can easily imagine yourself taking part in a deeply profound processional. It reminds me of the glory of the sunrise - and the wondrous transition from winter to spring. The same simple theme repeats with increasingly dramatic variations. It is inexorable and ultimately triumphant. So this morning it was amazing to waken from my sleep hearing it play in my head. It was as if my brain decided to wake me up with this musical treat and to remind me that spring is coming. With every hour it gets closer.<br />
<br />
The piece is by Michael Haydn. It is the Andante Adagio movement from the compositions he wrote for Voltaire's Opera, "Zaire" in 1771. Michael Haydn was Joseph Haydn's younger brother. Michael was known for his sacred music compositions.<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-ByyDPGyiKdg/UwolhaCg9SI/AAAAAAAADYo/l7gkFHLPYnA/s1600/alla+turca+cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-ByyDPGyiKdg/UwolhaCg9SI/AAAAAAAADYo/l7gkFHLPYnA/s1600/alla+turca+cover.jpg" height="320" width="320" /></a></div>
<br />
<br />
Try as I might, I couldn't find any recording of the piece on-line to share here. It can be heard on the CD entitled "Alla Turca" put out by Collegium Aureum and can be found on Amazon. It seems to have become a collector's item; the prices for used CD's range up toward $200! If you can find it in your local library, the track is #6, and it's the second movement, which I think is "Andante Adagio". <br />
<br />
<a href="http://www.amazon.com/Alla-Turca-Wolfgang-Amadeus-Mozart/dp/B0000247DC/ref=sr_1_14?s=music&ie=UTF8&qid=1393173467&sr=1-14&keywords=alla+turca+collegium+aureum">Link to "Alla Turca" CD</a>Kay Hardy Campbellhttp://www.blogger.com/profile/10655646072881460264noreply@blogger.com0tag:blogger.com,1999:blog-993175317044266923.post-74665909046835505402014-01-29T11:32:00.001-05:002014-01-30T15:27:27.950-05:00The White Album performed in its Entirety<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-hbrIo3DOQfw/UukpJn2cWuI/AAAAAAAADX0/AxTMTENuxTE/s1600/1536671_10202903844146775_102704180_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-hbrIo3DOQfw/UukpJn2cWuI/AAAAAAAADX0/AxTMTENuxTE/s1600/1536671_10202903844146775_102704180_n.jpg" height="320" width="207" /></a></div>
Last night we attended the best rock music concert either of us had been to in decades: a concert led by Tom Appleman, a professor from Berklee College of Music and his musical guests. They performed the Beatles White Album in its entirety. Tickets were only $12 and it was general admission seating, so those of us who got there early lucked out with great seats in the first ten rows. This pricing/seating policy reminded us of the way things worked decades ago at typical rock concerts. The early birds got the best seats.<br />
<br />
From the first sounds of the airplane landing in the beginning of "Back in the USSR" to the final words in "Good Night", the concert rocketed us to the stratosphere. We were grinning so long and hard I thought my face muscles would cramp! There was an eight year old kid sitting near the front who knew every song and sang along. There were grannies and lots of students from Berklee. It was multi-generational fun. Some babyboomer age fellows waiting outside the concert hall said, "Finally, after 45 years, the concert we always wanted."<br />
<br />
The group played every song in the order of the album. They didn't say a word until after they'd played the entire first album's songs. And the pauses between numbers were as quick as the pauses between numbers on the LP. But it didn't just seem like an imitation. No, this performance did something that has been needed for decades. Good musicians bringing the songs of this studio recorded album to life.<br />
<br />
The three guitarists dominated - Appleman, Corin Ashley, and Joe Musella. It was really amazing watching them switch gears with each song. This album has so many different styles it was dizzying to take it all in. All the musicians were great, but in addition to the leads, the piano/vocalist Brian E. King did yeoman's work, pulling together so many keyboard styles, even joining in on guitar and manning the firebell. Matt Burwell on percussion sang Ringo's songs and did a great job, bringing a Ringo-like quality to his performance.<br />
<br />
It was hard to say which was our favorite. For me, hearing "Everybody's Got Something to Hide, Except for Me and My Monkey" was astounding in its power being played live. It was an unexpected surprise that this song would just pop like that. But there were so many moments like that in the concert. <br />
<br />
This was a very special evening. It was lovingly produced, with a lot of hard work and raw talent - to sing all 30 songs in order with hardly any pauses. It was such fun to watch all the musicians come and go - including the string quartet, and the brass players. <br />
<br />
I am hoping they will do this show again. Perhaps it will become a mid-winter tradition, and spread to other cities. It's totally a worthwhile project. All in all, a fantastic achievement.<br />
<br />Kay Hardy Campbellhttp://www.blogger.com/profile/10655646072881460264noreply@blogger.com2tag:blogger.com,1999:blog-993175317044266923.post-40353008589460442382014-01-27T12:10:00.000-05:002014-01-27T12:10:02.107-05:00Jeddah Heritage Festival 2014<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-b7rqdHilOcI/UuaROScVpqI/AAAAAAAADXM/5ivI9K8I7wA/s1600/jeddah8.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-b7rqdHilOcI/UuaROScVpqI/AAAAAAAADXM/5ivI9K8I7wA/s1600/jeddah8.jpg" height="218" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Man wearing traditional headdress of Jeddah</td></tr>
</tbody></table>
<br />My memories of my days in Saudi Arabia are in many ways centered in the old city of Jeddah, known as al-Balad, or the Balad. When I return for a writing assignment, I always visit there, wandering in its alleys and taking in its special spirit. <br /><br />In recent years concerned citizens and officials have worked to preserve and revive the culture of the old city - for its coral brick mansions still stand high on the hill overlooking the Red Sea. The city is at the heart of my first novel, and so knowing these efforts have been going on is thrilling. <br />
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In January, 2014, the Jeddah Heritage Festival took place there and attracted approximately 750,000 visitors. All kinds of traditional crafts were demonstrated. People cooked and sold traditional food. People wore the old costumes of the Hijaz. Last but not least, folkloric performances of music and dance took place on the last day. Below are selected photographs from the English Language daily Saudi Gazette and a video from the other daily the Arab News. The video is of a folkloric group walking to their performance place. One man is carrying an electric heater that would be used to tighten the drumskins in the humid weather.<br />
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Here is the video!<br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/25ZCf7HaTVQ" width="560"></iframe>
<br />Kay Hardy Campbellhttp://www.blogger.com/profile/10655646072881460264noreply@blogger.com0