Author/Artist*

Music, pp. 205 & 211

Dance and music mediate between the sensual and the spiritual life.  Ludvig van Beethoven (modified quote)

th Ziggy warms the air up with his djembe drum at the landhuis, plantation home.

 

Later, Ziggy plays tambú rhythms (p. 211) for Yellie to dance—

The following video and those that ensue provide historical background of African rhythms in Curaçao and much more….

 

 

 

 

 

 

Music, p. 148-149

Dance and music mediate between the sensual and the spiritual life.  Ludvig van Beethoven (modified quote)

thThe Zeffa, a wedding processional dance, was to be performed by Dara, brought  to Panama to perform at the wedding of an affluent business man’s daughter.

 


Known by various names—zeffah, zaffa, zeffa—it is a raqs as-shamadan dance style and a very old Egyptian tradition. The use of a candelabra is more recent. The raq traces its origins somewhere between the late 1800’s to the early 1900’s. The dancer who made it famous was Zouba al-Klobativa who balanced a lantern on her head during a wedding procession. The light from the candles were to light the way and symbolized light, love, and prosperity, including fertility.

Another dancer who made it famous was Shafiqa al-Qobtiva. She was already famous and took the balancing act to higher demand.

 

Music, p. 183

Dance and music mediate between the sensual and the spiritual life.  Ludvig van Beethoven (modified quote)

thFinally, an old love is neither left or forgotten. The old lovers come together.

 

Un viejo amor (translated below)

Por unos ojazos negros,
igual que penas de amores,
hace tiempo tuve anhelos,
alegrías y sinsabores.
Y al dejarlos algún día,
me decían así llorando,
no te olvides vida mía
de lo que te estoy cantando:
Que un viejo amor
       ni se olvida ni se deja.
       Que un viejo amor,
       de nuestra alma sí se aleja,
       pero nunca dice adiós.
       Que un viejo amor…
Ha pasado mucho tiempo,
y otra vez vi aquellos ojos,
me miraron con despejo,
fríamente y sin enojo.
Y al notar ese desprecio
de ojos que por mí lloraron,
pregunté si con el tiempo
sus recuerdos olvidaron:
Que un viejo amor
       ni se olvida ni se deja.
       Que un viejo amor,
       de nuestra alma sí se aleja,
       pero nunca dice adiós.
       Que un viejo amor…
       Que un viejo amor…

An old love

For a pair of ardent black eyes
just like the sorrow of a love,
long ago I had desires,
happiness and grievous time.
And on leaving them one day
they were saying to me crying,
don’t you ever forget, darling,
what to you I am singing now:
that an old love
you neither forget nor drop.
That an old love,
may go away from our heart
but it never says good-bye.
That an old love…
– – –
A long time has passed by,
and I saw those eyes again,
they looked at me with indifference
coldly and without contempt.
And when I noticed that disdain
from the eyes that cried for me,
I wondered if with the time
they forgot their memories.
That an old love
you neither forget nor drop.
That an old love,
may go away from our heart
but it never says good-bye.
That an old love…
That an old love…

Music, p. 79

Dance and music mediate between the sensual and the spiritual life.  Ludvig van Beethoven (modified quote)

thIn this mix of boleros, somewhere “Como divina floración de perlas” is song by the Golden Bohemian of Mexico, Agustin Lara.  His lyrics were a perfect match for the long-suffering Adries. Lara’s music also touched Dara’s heart at the core. And so, Dara played this melody on Stefan’s first visit with Ayana.

But this is how Andries felt deep inside with his doubts, imagining the worst—

Music, p. 38

Dance and music mediate between the sensual and the spiritual life.  Ludvig van Beethoven (modified quote)

thMore music played that night of December 1934 by the Ray Noble Orchestra–

 

Lyrics and music by Cole Porter–

In the still of the night
As I gaze from my window
At the moon in its flight
My thoughts all stray to you

In the still of the night
All the world is in slumber
All the times without number
Darling when I say to you

Do you love me, as I love you
Are you my life to be, my dream come true
Or will this dream of mine fade out of sight
Like the moon growing dim, on the rim of the hill
In the chill, still, of the night

Lastly,

 

Despite everything that was going on in the 1930s, the people saw to it that there was a deep desire — truly the need — for laughter, love, friendship, passion and fun prevailed.

Music, p. 31

Dance and music mediate between the sensual and the spiritual life.  Ludvig van Beethoven (modified quote)

th“Midnight, the Stars and You,” remember which film made it extra famous?

As performed by the Ray Noble orchestra; it was a night for romance.

Lyrics and song by Al Bowlly

Midnight with the stars and you
Midnight and a rendez-vous

Your eyes held a message tender
Saying “I surrender all my love to you”

Midnight brought us sweet romance
I know all my whole life through

I’ll be remembering you
Whatever else I do

Midnight with the stars and you

 


Answer to question above: “The Shining” (1980)

 

 

Music, p. 30

Dance and music mediate between the sensual and the spiritual life.  Ludvig van Beethoven (modified quote)

thAt The Roosevelt Club, the Dessert Room, the joint was hopping, while the Lindos dined upstairs.

 

 

 

 

 

 

Music, p. 83

Dance and music mediate between the sensual and the spiritual life.  Ludvig van Beethoven (modified quote)

1930’s – Cuban Rumba as a conga was very popular; it still is. In 1935, Stefan Lindo walked El Malecón in Havana, Cuba, to witness the conga line.

The conga line is a novelty line dance that was derived from the Cuban carnival dance of the same name and became popular in the United States in the 1930s and 1950s. The dancers form a long, processing line, which would usually turn from a snake line into a  circle. It has three shuffle steps on the beat, followed by a kick that is slightly ahead of the fourth beat. The conga, a term sometimes mistakenly believed to be derived from the African region of Congo, is both a lyrical and danceable genre, rooted in the music of carnival troupes or comparsas.

 

 

 

 

 

 

Music, p. 209

Dance and music mediate between the sensual and the spiritual life.  Ludvig van Beethoven (modified quote)

th When is music “quieter than silence”? Perhaps when the vibration between notes is finely heard. As Hezar Pareh explains in his worldwide “Quieter than Silence” project, “The silence that is quieter is beyond the physical. There are so many levels of expressions that words cannot express them except through music and silence. That is when they can be expressed.” I would add dance. Between the notes is where the best silence can be captured.

Thus, the following is a compilation of Rumi quotes into prose:

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     Stop acting so small. You are the universe in ecstatic motion. When you do things from your [being], you feel a river moving inside you, joy. {Let that river be a dance.] We carry inside us the wonders we seek outside us. [Look inward when you dance. Be silent, even be still, when you dance.] Your heart knows the way. [Dance] in that direction. Let silence take you to the core of life. Let silence be the art you practice. Let go of your mind and then be mindful. Close your ears and listen. The message behind the silence is the voice of the heart.

      In the silence, there is eloquenceStop weaving, [just be in the movement], and see how the pattern improves. Close your eyes, fall in love, stay there. There is a voice that does not use words, listen. Dance until you shatter yourself. Then, dance when you are perfectly free…It is only from the heart you can touch the sky. Become the sky, and let yourself become living poetry. The source of now is here.

 

 

By way of introduction, there are several styles of spiritual dance that connect you to ‘eternity’ or ‘the source’. Click here.

Music, p. 48

Dance and music mediate between the sensual and the spiritual life.  Ludvig van Beethoven (modified quote)

thMadame Dara premiers at the Chiari’s soireé, before the elite of Colon, Panama, performing a similar dance.  This style of dance is how she would transmit code during the Allied-Axis conflict, when supported by Latin American businessmen and politicians who would spy for the Nazi Party.