The Power of Intentions

Intentions are indeed very powerful if they are created in the right way. There are a few basic rules you will want to understand, otherwise your intentions may simply evaporate, or even backfire. By backfire, I mean they create just the opposite of what you wanted.

The Purpose of Making Intentions: We use intentions to guide our attention in a new direction, in order to create a new or different reality. For example, maybe you'd like to change your job. Most people would start with the intent to have a better job, as the old one doesn't satisfy anymore. However, trouble may be brewing here already...

If you move on from something you don't like, to something you prefer, you may deny your current situation. In order to make successful intentions, it is important to deal with the current situation first, and do some analytical thinking about it.

Understand that you created this situation so don't blame anybody else for it. Take full responsibility, and understand that you are the only person responsible for the current circumstances. Once you do away with any judgments of your current situation, you can see it from a neutral perspective. There was a point in your life when it was the perfect decision. Don't compare the now with the past, as you have since had new experiences and gained a different viewpoint.

This is a common mistake in thinking: it is like a loophole in the "mind". You jump from one time-line into another time-line, and then compare them. This leads to false conclusions. Besides that, leave the past; don't reinvent it.

Evaluate Your Current Situation...if you look at your current situation without judgments, you empower yourself. Only from a neutral standpoint can you make a powerful new decision. This new decision will be based on deliberate intent of reaction to circumstances. This is where choice and free will comes in.

Remember - be neutral...approach it like it's the 1st intent. What do I like about what I'm doing now...my current job.

What do I want to improve in my next endeavor?

What would be the perfect life for me?

What would I like to feel from my next endeavor?

What am I good at?

In which areas is this endeavor supporting me to live my full potential?

Write down the answers to these questions, and start to craft a few full sentences out from you answers. Include all the positive points. Make these sentences as precise as possible.

It could read like this: "My next endeavor is exciting: it flows with me, makes me happy, and I am able to learn and grow with it. When you are done, read it out loud. If you have trouble saying the sentence, or even memorizing it, then it is not ready. Simply take a few moments and refine it.

Overcoming Pitfalls when Creating Intentions are formed in your conscious mind; however, it's your subconscious that received these commands and creates the necessary opportunities in your life. In other words, your conscious mind is deciding on this new opportunity and creates a new reality.

1. Use only positive words
2. Include a time frame
3. Remove negations
4. Be precise - Here is a sample test.

Don't think about a blue elephant! What happened? You thought about the blue elephant, you may even imagine it. The subconscious does not work analytically; it cannot understand words like "don't" or "not". It works mostly in images, sounds, and smells.

You want to avoid use of any negative words in your intentions. Always formulate your intentions in such as way that they reflect the outcome of what you'd like to create.

Example of how not to do it - I don't want to have so much responsibility.

Better Example - In my new endeavor I feel comfortable with my responsibility.

Including a Time Frame - There is a difference between creating in your own universe or in the physical world. When you create inside yourself, there is not time involved - you consciousness is timeless!

For example, if you'd like to change your attitude toward someone, you don't need to set a time frame. You can simply create the intention: "I appreciate so and so", or "I value so and so's viewpoints and beliefs." It will work instantly if there is no other belief or intention in its way.

When you deal with the physical world, setting a time frame becomes important. The physical world works within time and space. If you build a new house, first you must have a plan, and then you move dirt, assemble wood, install plumbing, and move furniture, until the house is complete. It takes time and effort.

Pay attention to any reactions you have when you formulate your intention. Your mind may interfere and tell you: "No way. I will never get this," or "this is impossible." If you encounter these instant judgments, formulate your intentions differently, so that they feel more do-able. Sometimes you may want to break a big intention into smaller pieces.

Most of all...if you include people who do not have postivie intentions focused toward you - KEEP THEM OUT OF YOUR SPACE. When you clear yourself of people who envy you, your intentions will have a wonderful outcome.

Take care and remember - Love yourself

It's Late....Thank You All

It's been over a month since the Karim Nagi 3-day Arab Dance Workshops and Lectures! It has taken me this long to pull everything together, reflect on certain outcomes, and finally pull my head from under the covers and once again.....FACE THE WORLD!!!

First of all I would like to give thanks and praise to the following people:

Karim Nagi - You were wonderful. I consider myself very lucky to have you as a mentor, teacher, instructor and most of all FRIEND. You are one of the few the really GET me. Be blessed, prosperous, healthy and happy all the days of your life. I'm looking foward to seeing you soon.

Chandani - Thank you for coming to vend your lovely dance ware and eye candy, but most of all being a solid and caring friend. This was my second promotion and you made it seem so easy. Whatever you need, please let me know. I'll be there.

Saahira Nashita - The angel that saved the day!!! Thank you for your help and expertise. You were a Godsend. I'm looking foward to planning "EARTHDANCE 2008" with you as my assistant. Your performance was breathtaking. Hang in there ladybug.

RanNahid - Thank you for the wonderful performance! I am very happy to have met you and can now call you "friend".

Zuleika - East Coast Classic Promoter, inspirational performer and friend. You captured the entired audience in your spell. I loved it.

Nadira - Wonderful, beautiful, inspiring. Thank you

Morgana - Inspiring, and enchanting...Thank you

Women of Selket - You do what you do BEST....Thank you

Johara - Self-less....thank you sweetpea....your performance was Magnificent !!!!

AND THANK YOU ALL WHO PERFORMED IN THE FRIDAY NIGHT HAFLA - DJ DISCO PARTY...........Rachel, Nicole, and others........

SEE YOU NEXT YEAR!!!!

Karim Nagi/Turbo Tabla ARAB DANCE LECTURE/WORKSHOP APRIL 4-6, 2008

WHERE:

University of Richmond
North Court Reception Room
40 Westhampton Way,
Richmond, Virginia 23173

SCHEDULE:

FRIDAY - APRIL 4, 2008

2:00 PM - SURVEY OF ARAB MUSIC FOR DANCE (LECTURE): Although music exists without dance, dance rarely exists without music. Arab culture has a strong dance tradition with specific music that propels it. Students will study the relationship between music and the movement it creates or accompanies. The context, storylines and themes of each song will be explained. Overviews and recording samples will be given in the categories of Performance (Stage Dabka and Raqs Sharqi), Ritual (Zikr, Zaar, Sama/Whirling), and Social Dance (Dabka and Raqs Baladi). Karim will also demonstrate the intimate connection between rhythm and movement in the performance category, with live examples.

5:00 - DINNER ON YOUR OWN

7:00 - 10:00 DJ TABLA DANCE DISCO - Not Your Typical HAFLA – Be prepared to have the time of your LIFE!!!!!! In addition to loving modern music, DJ TABLA (Karim) is also a traditionalist. He has always loved the "pre-classics" of Egypt, Syria and Turkey. The great songs of the early 20th century have an intoxicating feel and spirit that is rarely found in modern music. Karim re-records these classics using top-notch musicians and singers. He bolsters the sound with heavy grooves and Electronica. These grooves (remember, Karim is a drummer) serve to propel the music on the dance floor, while maintaining the authentic spirit of the original composition. Karim prefers the use of traditional instruments, instead of the keyboards and synthesizers that dominate modern Electronica.

SATURDAY - APRIL 5, 2008

9: 00 MAQAM FOR DANCERS (workshop): Maqam is the Arabic system of scales and melody creation. All songs weather classical, pop or dance, are created in a Maqam, which dictates whether the song is happy, somber, uplifting, spiritual or sensual. Dancers will learn how to recognize, sing and move to maqams by learning famous song examples. Special attention will be given to Taksim, the art of instrumental solo improvisation. The dancer will practice interpreting the instrumental music into movement and personifying the mood of the music. This workshop is vital for dancers who wish to better interpret melody into movement.

12:00 - CATERED MIDDLE EASTERN LUNCH $10.00

1:30 MUSICALITY FOR DANCERS (workshop): Despite any mastery of technique and bodily dexterity, true dance expression requires musicality. The best dancers are those who emulate the music into their own movement. Karim will demystify Arab music for the dancer. Several recurring themes in Arab music will be identified (using recorded examples) and explained in emotive, non musical terms. The class will cover Taksim, Melodic Themes, Vocal vs. Instrumental Songs, Rhythms & Rhythmic Changes, Melodic Modulation, Song Structure, Orchestration and Instrumentation. Karim will guide the students through several songs and lead them in dancing to each of these themes. This is a movement class that will help the dancer become the physical personification of the music.

3:00 FROM THE VILLAGE TO THE STAGE - ARAB MUSIC & DANCE, THEN & NOW (LECTURE): This lecture will illustrate the function and setting of dance and music in the Arab world over the past 100 years. It is wide in scope, and will attempt to differentiate between dance and music in ritual settings, vs. entertainment and cabaret forms. The music ensembles and compositional styles will be explained, with listening examples. We will also discuss how dance performances evolve when transported from village to urban settings, including the introduction of choreography. The controversial role and status of the Dancer in society will be illuminated. Dance and music in the different regions in the Arab world (Egypt, Gulf, Levant and North Africa) will be compared with one another. The talk will conclude with an analysis on the effect video and mass media distributions have on the art form and Arab society.

5:00 DINNER ON YOUR OWN

7:30 - 10:30 PROFESSIONAL GUEST PERFORMERS $10.00

SUNDAY APRIL 6, 2008

9:00 SAGAT & Zills FINGER CYMBALS (workshop): Using the techniques of the Egyptian Sufi Zikr, Karim will present the Zills as a classical instrument and not simply a dance accessory. Karim has developed a comprehensive zill method that utilizes drum techniques, and an ambidextrous approach. Students will learn the Arabic rhythms by name and how to play them while dancing! Dancers will learn to use the cymbals to communicate rhythms to a band and accent solo dancing and body movements. Dancers and percussionists of all levels are welcome. Karim promises to transform dancers into musicians with his finger cymbal teaching approach.

12:00 LUNCH ON YOU OWN

1:00 RHYTHM FOR DANCERS (workshop): It's time to raise the bar for rhythmic literacy! A dancer's immediate connection to the music is the rhythm produced by the Tabla and percussion. Karim teaches each rhythm using the three-sound clapping approach. Karim then performs sample rhythms on the Tabla. Students will learn each rhythm by name, "dum-tak" vocalization, and clapping. Afterwards the dancers will learn choreography segments to help gain bodily control with the sample rhythm, putting theory into practice. By physically personifying each Rhythm, bodily mastery of that rhythm will be achieved. This movement workshop is perfect for any dancer who wants to better understand what they are dancing to.

4:00 END OF SEMINAR

PayPal: oryantaldanse@comcast.net
Money Order – MAIL TO:
Patricia Clark Hines
3927 Biddeford Place, Richmond, Virginia 23233

Full weekend - $190
Individual Lectures: $60 each
Individual Dance Workshops: $70 each
Catered Middle Eastern Lunch: $10
Professional Guest Performancers Show: $10 (Saturday Night)

The Princess Groove By Sarah Zadok

This evening, I was feeling kind of blue. I was tired, feeling over-worked, over-weight, and under-appreciated. I didn't feel like going out at all, but I've been a committed student of a Middle Eastern Dance class that meets every Wednesday night, and even though my mind was begging to differ, I knew my body would thank me later. I've learned from experience that I can go to class in a bad mood, but I never leave class in a bad mood. So I threw on some clothes that reflected my drab mood and headed out to dance class.

I adore this class. It fills a gaping void in the creative department in my life. And I adore my teacher. She is beauty incarnate. I could watch her for hours. She is the most graceful and fluid dancer I have ever seen. She looks like her name should be Jasmine or Cleopatra, but her name translates from Hebrew to "gift from G d," which, truth be told, suits her perfectly. Her guidance is beyond instruction in technique. She treats movement as a meditation and encourages us to strive for beauty of movement in all areas of our lives.

All I could see was a postpartum pooch shimmying in a baggy tee-shirt This particular evening, I was feeling stiff inside and out. And to top it off, she had brought in a stage mirror to help hone in on a certain movement we were working on. I usually don't mind looking at myself in the mirror, but tonight I just couldn't quite get into it. I felt like everyone else was dressed better, moved more fluidly, and was, basically, just having more fun. This style of dance celebrates the body and emphasizes the beauty of natural movement regardless of shape or size, but all I could see was a postpartum pooch shimmying in a baggy tee-shirt. Not exactly the image of fluid beauty.

My teacher noticed me grimacing in the mirror, and asked about my mental whereabouts. "I feel so un-beautiful tonight," I blurted. She stared at me deeply for a long moment and then took my hand and led me to the center of the room. She changed the music and disappeared behind the mirror. "Tonight, you are all princesses... follow me."

Darbukah drums pulsed an earthy and exotic rhythm as she ceremoniously donned a red velvet tiara thick with gold beads and demonstrated our task. The assignment was to wear the tiara, walk the interior of the circle on the balls of our feet (the "pigeon" step), chest raised with our arms out to the sides. We needed to greet each woman in the circle with our eyes, continue to the center of the circle, and perform a free-style princess dance in tempo with the drums, and in character.

Each woman had to take a turn and then pass the crown to someone else. It was not optional. Eye contact was mandatory and we were instructed not to make a parody of it, not to over-do it, but rather to assume the persona of a true princess. Confident – Regal – Simple – Beautiful.

"Princesses don't show their effort. Let the movement be slight and gentle," she coached. "Stand up tall, believe that you are worthy of the throne. You are the daughter of the King."

I'll be honest, I wasn't feeling super-princessy. I would have preferred to just watch everyone else strut their princess-pigeon selves. But I did it. And ladies, I am so glad I did!

I can't remember the last time I wore a tiara in a room full of adult women, and played "princess" with musical accompaniment. It was so liberating. So beautifying – if that is a word. I was nervous and self-conscious when I began, but the faces of the women I greeted helped me forget about myself a bit. When my turn was over, I passed on the crown and watched the rest of the women spin into royalty before my eyes. It was one of the most powerful experiences I have ever had.

It was so transformative, so Queen Esther Women of all ages, shapes and sizes unfolded into their best, most regal and elegant selves. Laced with confidence, style, grace, class and purpose, these women - not all fantastic dancers, by the way - became perfect princesses.
It was pure therapy. My focus completely shifted from hyper-body awareness to super-soul awareness. I transformed from shlumpy Mommy to "Princess Sarah" using my body, the chalice of the soul, to acknowledge Him and thank Him through dance. It was so transformative, so Queen Esther.

There are plenty of times that I find myself feeling totally out of touch with my inner self. I forget that I come from a long royal line... Sarah, Rachel, Rebecca, Leah, Esther… and this dance reminded me of how possible it is to access that place inside of me. When I'm in Princess mode (I'm talking daughter of "The King of Kings," not the Sleeping Beauty variety), not only do I feel confident and purposeful, but I share that vibe with everyone around me. A true princess elevates her surroundings, she lifts up her people, she is a confident and selfless leader.

You better believe that since that night I've invested in a few extra tiaras to keep around the house, just in case. And there is no question as to my costume for Purim. After all, every one of us women is a Daughter of The King. We need to remember that simple, glorious fact and own it.

Karim Nagi/Turbo Tabla ARAB DANCE LECTURE/WORKSHOP APRIL 4-6, 2008

WHERE:

University of Richmond
North Court Reception Room
40 Westhampton Way,
Richmond, Virginia 23173


HOTEL:

Hilton Garden Inn Richmond Innsbrook, Glen Allen
4050 Cox Rd, Glen Allen, VA 23060
Phone: 804-521-2900
Official site: www.hiltongardeninn.com

SCHEDULE:

FRIDAY - APRIL 4, 2008

2:00 PM - SURVEY OF ARAB MUSIC FOR DANCE (LECTURE): Although music exists without dance, dance rarely exists without music. Arab culture has a strong dance tradition with specific music that propels it. Students will study the relationship between music and the movement it creates or accompanies. The context, storylines and themes of each song will be explained. Overviews and recording samples will be given in the categories of Performance (Stage Dabka and Raqs Sharqi), Ritual (Zikr, Zaar, Sama/Whirling), and Social Dance (Dabka and Raqs Baladi). Karim will also demonstrate the intimate connection between rhythm and movement in the performance category, with live examples.

5:00 - DINNER ON YOUR OWN

7:00 - 10:00 DJ TABLA DANCE DISCO - Not Your Typical HAFLA – Be prepared to have the time of your LIFE!!!!!! In addition to loving modern music, DJ TABLA (Karim) is also a traditionalist. He has always loved the "pre-classics" of Egypt, Syria and Turkey. The great songs of the early 20th century have an intoxicating feel and spirit that is rarely found in modern music. Karim re-records these classics using top-notch musicians and singers. He bolsters the sound with heavy grooves and Electronica. These grooves (remember, Karim is a drummer) serve to propel the music on the dance floor, while maintaining the authentic spirit of the original composition. Karim prefers the use of traditional instruments, instead of the keyboards and synthesizers that dominate modern Electronica.

SATURDAY - APRIL 5, 2008

9: 00 MAQAM FOR DANCERS (workshop): Maqam is the Arabic system of scales and melody creation. All songs weather classical, pop or dance, are created in a Maqam, which dictates whether the song is happy, somber, uplifting, spiritual or sensual. Dancers will learn how to recognize, sing and move to maqams by learning famous song examples. Special attention will be given to Taksim, the art of instrumental solo improvisation. The dancer will practice interpreting the instrumental music into movement and personifying the mood of the music. This workshop is vital for dancers who wish to better interpret melody into movement.

12:00 - CATERED MIDDLE EASTERN LUNCH $10.00

1:30 MUSICALITY FOR DANCERS (workshop): Despite any mastery of technique and bodily dexterity, true dance expression requires musicality. The best dancers are those who emulate the music into their own movement. Karim will demystify Arab music for the dancer. Several recurring themes in Arab music will be identified (using recorded examples) and explained in emotive, non musical terms. The class will cover Taksim, Melodic Themes, Vocal vs. Instrumental Songs, Rhythms & Rhythmic Changes, Melodic Modulation, Song Structure, Orchestration and Instrumentation. Karim will guide the students through several songs and lead them in dancing to each of these themes. This is a movement class that will help the dancer become the physical personification of the music.

3:00 FROM THE VILLAGE TO THE STAGE - ARAB MUSIC & DANCE, THEN & NOW (LECTURE): This lecture will illustrate the function and setting of dance and music in the Arab world over the past 100 years. It is wide in scope, and will attempt to differentiate between dance and music in ritual settings, vs. entertainment and cabaret forms. The music ensembles and compositional styles will be explained, with listening examples. We will also discuss how dance performances evolve when transported from village to urban settings, including the introduction of choreography. The controversial role and status of the Dancer in society will be illuminated. Dance and music in the different regions in the Arab world (Egypt, Gulf, Levant and North Africa) will be compared with one another. The talk will conclude with an analysis on the effect video and mass media distributions have on the art form and Arab society.

5:00 DINNER ON YOUR OWN

7:30 - 10:30 PROFESSIONAL GUEST PERFORMERS $10.00

SUNDAY APRIL 6, 2008

9:00 SAGAT & Zills FINGER CYMBALS (workshop): Using the techniques of the Egyptian Sufi Zikr, Karim will present the Zills as a classical instrument and not simply a dance accessory. Karim has developed a comprehensive zill method that utilizes drum techniques, and an ambidextrous approach. Students will learn the Arabic rhythms by name and how to play them while dancing! Dancers will learn to use the cymbals to communicate rhythms to a band and accent solo dancing and body movements. Dancers and percussionists of all levels are welcome. Karim promises to transform dancers into musicians with his finger cymbal teaching approach.

12:00 LUNCH ON YOU OWN

1:00 RHYTHM FOR DANCERS (workshop): It's time to raise the bar for rhythmic literacy! A dancer's immediate connection to the music is the rhythm produced by the Tabla and percussion. Karim teaches each rhythm using the three-sound clapping approach. Karim then performs sample rhythms on the Tabla. Students will learn each rhythm by name, "dum-tak" vocalization, and clapping. Afterwards the dancers will learn choreography segments to help gain bodily control with the sample rhythm, putting theory into practice. By physically personifying each Rhythm, bodily mastery of that rhythm will be achieved. This movement workshop is perfect for any dancer who wants to better understand what they are dancing to.

4:00 END OF SEMINAR


(HURRY - WE ARE QUICKLY FILLING UP - SIGN-UP NOW TO GET EARLY PRICES)
PayPal: oryantaldanse@comcast.net
Money Order – MAIL TO:
Patricia Clark Hines
3927 Biddeford Place, Richmond, Virginia 23233

EARLY BIRD MUST BE POSTMARKED BEFORE OR ON 2/15/2008

Full weekend - $190
Individual Lectures: $60 each
Individual Dance Workshops: $70 each
Catered Middle Eastern Lunch: $10
Professional Guest Performancers Show: $10 (Saturday Night)

Remedial Female Vocabulary

So, I was on the 'net earlier today and I crossed this on one of my girl's pages. I read through this and thought you might enjoy the read and the males needed a little education. This is oh so true in most cases, lol. Men, you should read this and take notes.

1.) FINE: This is the word women use to end an argument when they are right, and you need to shut up. I'll add that this is sometimes a "fine then" that really means you've done something wrong.

2.) Five Minutes: If she is getting dressed, this means half an hour. Five Minutes is only five minutes if you have just been given five more minutes to watch the game before helping around the house.

3.) Nothing: This is the calm before the storm. This means something, and you should be on your toes. Arguments that begin with nothing usually end in fine (see #1).

4.) Go Ahead: This is a dare, not permission. Don't Do It!

5.) Loud Sigh: This is not actually a word but a non-verbal statement often misunderstood by men. A loud sigh means she thinks you are an idiot and wonders why she is wasting her time standing here and arguing with you about nothing . (Refer back to #3 for the meaning of nothing. )

6.) That's Okay: This is one of the most dangerous statements a woman can make to a man. "That's okay" means she wants to think long and hard before deciding how and when you will pay for your mistake.

7.) Thanks: A woman is thanking you - do not question or faint. Just say you're welcome.

8.) Whatever: Is women's way of saying "%@&* YOU!"

9.) Don't worry about it, I got it: Another dangerous statement, meaning this is something that a woman has told a man to do several times, but is now doing it herself. This will later result in a man asking "what's wrong" - for the woman's response refer to #3.

Most Embarrassing Moment in 08

Is this too early? Well, thus far I have had my first "Most Embarrassing Moment in 08" and it's only January 19th. Keep it rolling. Write your most embarrasing moment and keep adding to the list for all to see.

1. I didn't know I was wearing a pair of jeans with a split down the crack until a woman in WaWa told me. No wonder a man walked up behind me and said "ummm nice". Thank goodnesss I had my dance pants on under the jeans. - Jan 18, 08 -BatSheva

Ok - I Hijacked this from a Tribe.net Friend

But I did ask permission :-)

This quote arrived from a friend of mine...

by 60 Minutes Correspondent Andy Rooney (CBS)

"As I grow in age, I value women over 40 most of all. Here are just a few reasons why:

A woman over 40 will never wake you in the middle of the night and ask, 'What are you thinking?' She doesn't care what you think. If a woman over 40 doesn't want to watch the game, she doesn't sit around whining about it. She does something she wants to do, and it's usually more interesting. Women over 40 are dignified. They seldom have a screaming match with you at the opera or in the middle of an expensive restaurant. Of course, if you deserve it, they won't hesitate to shoot you if they think they can get away with it.

Older women are generous with praise, often undeserved. They know what it's like to be unappreciated. Women get psychic as they age. You never have to confess your sins to a woman over 40. Once you get past a wrinkle or two, a woman over 40 is far sexier than her younger counterpart. Older women are forthright and honest. They'll tell you right off that you are a jerk if you are acting like one. You don't ever have to wonder where you stand with her .

Yes, we praise women over 40 for a multitude of reasons. Unfortunately, it's not reciprocal. For every stunning, smart, well-coiffed, hot woman over 40, there is a bald, paunchy relic in yellow pants making a fool of himself with some 22-year old waitress. Ladies, I apologize. For all those men who say, 'Why buy the cow when you can get the milk for free?', here's an update for you. Nowadays 80% of women are against marriage. Why? Because women realize it's not worth buying an entire pig just to get a little sausage! "

Just thought I'd pass that on.
Wishing everyone a very happy new year filled with dance and fun and lots of love