Anahid Sofian Labor Day Weekend Workshop - Beautiful "Patterns in Space"

Anahid Sofian, Master Teacher of Oriental Dance, Hosts Four-Day Intensive Starting Thursday, August 30, in New York City

If you've read Unveiling: The Inner Journey, you've read about Anahid Sofian. She's responsible for several of my most significant breakthroughs in Oriental dance - both in the technique and the "psychology" of the dance.

Here's just a sample:

"... What she had just shown me was not something new. I had not only known it: I had taught it to my students. And here I was, taking my new creation in to my master teacher, and realizing that I'd forgotten the basic lessons.

"What was it that Anahid had, and that I had totally forgotten?

"Simply, it was the power of holding something back." (Unveiling: The Inner Journey, Chapter 26: "Unveiling: Selective Revelation," p. 359)

This week, from Thursday, August 30 through Sunday, Sept. 2nd, Anahid will be holding an Intensive Workshop in her studio in NYC. This will be a magical time!

One of the things that Anahid teaches, and which I've learned from very few others, is the mystical, elusive art of creating beautiful, flowing patterns in space as you move with your veil. Most veil work that we see today is stationary. Anahid excels at the earlier version of veil art - the kind that is mesmerizing, captivating, and infinately memorable.

Alay'nya showing veil techniques that she learned from master dancer teacher Anahid Sofian

Anahid will be teaching her special veil movements this coming Sunday, Sept. 2nd. There's possibly still room for one or two more to join her class.

On Saturday, Eva Cernik, Anahid's protege and a master teacher in her own righ, will be teaching, and this is another stellar opportunity. I've adored every single thing I've learned from Eva, and have watched her videos time and again. (Showing an Eva video, and then trying to capture her "essence," is a staple part of my class curriculum.)

If you live in the Greater DC Metro Area, or in Baltimore or anyplace up the I-95 corridor, you can get to Anahid's studio easily using Amtrak. It's a bit of a long day, but very doable. And totally worth the doing!

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"Where Are the Initiated Men of Power Today?" - An Answer to Robert Moore and Douglas Gillette

To Find the "Initiated Men of Power" - Seek Out the Martial Arts Masters

Leaders of the men's movement today are addressing the question brought before them by young men:

"In a Bill Moyers interview with poet Robert Bly ... a young man asked the question, 'Where are the initiated men of power today?' We have written this book in order to answer this question, which is on the minds of both men and women. In the beginning of the twenty-first century, we face a crisis in the masculine identity of vast proportions. Increasingly, observers of the contemporary scene - sociologists, anthropologists, and depth psychologists - are discovering the devastating dimensions of this phenomenon, which affects each of us personally as much as it affects our society as a whole."

(See Robert Moore's website page for this quote and also for an introduction to the excellent book by Robert Moore and Douglas Gillette, King, Warrior, Magician, Lover, written to answer this question.

See also my review of Moore and Gillette's book on today's Unveiling webpage, Moore and Gillette; King, Warrior, Magician, Lover.



The question is a real one. In all of our mythic Heroic Quests, the young man is tutored by a sage, someone whom we'll call a Hierophant - a "wise older man" who can guide the young man towards full adulthood. In his excellent book, The Way of the Peaceful Warrior, Dan Millman describes his teacher Socrates.



In the movie Star Wars, Luke Skywalker is tutored first by Obi-wan Kenobi, then by Yoda. In The Karate Kid (1984 version), Dan is tutored by a martial arts master, Mr. Miyagi.

What is consistent here? Young men are taught by martial arts masters. This is the classic initial stage of the Hero's Journey.

Socrates, Obi-wan Kenobi and Yoda, and Mr. Miyagi - together with numerous similar characters in fiction and film - are idealizations. But the "real versions" exist!

In Unveiling: The Inner Journey, I credit two martial arts masters with whom it has been a great privilege to study. Robert Fusaro Sensei, 7th Dan, Founder of Midwest Karate Association, and Peter Ralston, founder of both the Cheng Hsin school and the martial arts discipline of that name, are masters who are substantial and very authentic. Further, diligent search of the martial arts schools and systems in most cities will reveal others who are competent teachers; not only of martial arts, but also of life.

Even those who prefer something other than martial arts can benefit by the pathway to becoming a "Superior Man," as described by author Davide Deida.



Deida states "The two ways to bring you right to your masculine edge of power are austerity and challenge." (The Way of the Superior Man, p. 191)

Women are aware of whether or not men are willing to do this. As we observe men, we note whether they are creatures of comfort, or if they are afraid to disrupt their own "status quo." In essence, we note their courage - their willingness to accept both discomfort ("austerity") and their willingness to step beyond their safety zone ("challenge").

So for all men who are looking for a pathway: Seek out austerity and challenge, as Deida suggests. Give up the TV and the video games, and spend time in a real dojo; study with a martial arts master. Push yourself into the wilderness and into your own wildness. Then see how your woman responds to you. (Or if you are not in a relationship, then observe what sorts of women begin to be attracted to you.)

Lineage - in Martial Arts, Yoga, Zen - and Belly Dance!

Our "Master Teachers" in Oriental Dance

Recently, I took a workshop with Anahid Sofian, where the day's classes were taught by her protege, the internationally-renowned Eva Cernik. Among the attendees was Nourhan Sharif, and others who were remarkable for their intelligence (one had her Ph.D. in biochemistry), devotion to the art (most were long-standing students), and overall high level of knowledge about dance, art, and life.

I overheard Nourhan and another dancer, where the question that one of them posed was: Which other leading dancers do you like - and respect - the most? (The context was with historical figures - the luminaries of films, etc.)

Somehow, the conversation swung around to how we - as students, practitioners, and often teachers - show how we respect our own teachers. And someone (here I'm airbrushing just a bit) commented on one dancer who left a well-known teacher to form her own studio. She had been a teacher in the master dance teacher's studio, and took the students - who were in class with her - when she left to set up her own "establishment."

This wasn't just a burst of ego. It was a show of disrespect, and - in simple business terms - an undercutting.

I had the same thing happen to me, and write about it in Unveiling: The Inner Journey. (see the opening for Chapter 15, "Softening: Beginning to Break Through," beginning page 199.

I recall a conversation with another leading dancer, one with whom I've studied and whom I respect a great deal. I asked her how I could honor her in my work. She said, "Simply recognize me in your bio. Say that you've studied with me."

That seems easy enough. Surprisingly, though, there are dancers - those who want to "establish" themselves - who think that the best way to do this is to disregard (and even disrespect) their connections with their teachers and - when they find them - their "master teachers."

We in the Oriental dance world seek to claim legitimacy for our art form. We want respect. We demand, and the rigor and beauty of our art form demands, a high level of respect.

But to get respect, we have to give it.

Look at the great traditions in the world; the ones where personal teaching is necessary. Martial artists, the world over, acknowledge their teachers. Lineage is exceptionally important.

Lineage is important in ballet, modern dance, and other dance forms. It is important in all branches of yoga.

In Zen meditation, one of the practices is that the disciples recite the names of their master teachers, going up through their entire lineage, and thanking and acknowledging them.

We have a profoundly beautiful, moving, and exquisite art form. We also have lineage. It's time for us to respect our "master teachers."

In Unveiling: The Inner Journey, I identify my "master teachers" - in dance, in martial arts, and in body/mind/psyche/energy integration. If I've studied with them, and if there is enough of a relationship so that they can pick me out of a lineup, they're mentioned. I tell stories about them - the kind of "student/teacher" stories that highlight their role as teachers.

Right now, more and more of us are writing. (Morocco's book is coming out soon, Nourhan Sharif has one underway.) We put together websites. We have videos. In addition to teaching classes and performing, we have numerous venues available to us - through the web, digital media, and print - in which we can honor our "master teachers."

We want respect? Let's start by giving it.

Getting "Inner Balance" with T'ai Chi, Chi Kung, and "Push Hands"

Peter Ralston - Martial Arts Master - and an "Unveiling" Master Teacher

Yesterday morning, when the power came back on after Hurrican Irene passed through, I went down to my dance studio for my morning yoga practice. And after my body "woke up" a bit, the yoga became a bit of free-form T'ai Chi, then a bit of Chi Kung, with some of the Silk Weaving exercises mixed in. And within short order, I was back to basic - very elementary - dance movements. Really more the essentials - Anchoring and Grounding, and weight shifting. I began attending to Principles that Peter Ralston had elucidated very clearly when I was studying with him.

Peter Ralston, a martial arts Master Teacher, taught T'ai Chi and other "internal" martial arts. He was - and still is - a very effective fighter. He also based his teachings on certain core body-alignment and energetic Principles. He is one of the Master Teachers whom I reference frequently in Unveiling: The Inner Journey.

Peter has several books published, but one that got a very good review is Re-Thinking Cheng Hsin.



Peter's teachings have had a profound impact on my dance. I particularly credit him with helping me define my first Principles, beginning with Anchoring. I spent a fair bit of time yesterday, not only in physical practice, but re-thinking how to connect the Principles with how to teach, both for beginner and advanced students. Another element underlying all of Peter's teachings is that our practice, whether martial arts or any other area, should be "effortless." (Now I'll confess that my practice yesterday, during which I focused on releasing tension and having proper alignment, was pretty hard work!)

In Unveiling, I write:

This principle - that of being "effortless" - holds true for us as well. If we are seeking to cultivate our Hathor essence, then we need to create it in a way that is effortless, natural, and easy. Similarly, if we wish to access the deep wisdom of our inner High Priestess, this must especially come about in a soft and gentle manner! In part, because this is the characteristic of real power. And in part, also, this is the only way that things will work most effectively in our lives. (Unveiling: The Inner Journey, p. 165)

You can read more Unveiling excerpts at: Unveiling: The Inner Journey.