Being Together in Dance

If you are in a group number you need to be able to coordinate your moves with others when on the stage. Here is how to master the art of matching your movements to other dancers. Do not try to stand out from the other dancers. By matching other dancers in movements, style timing, and energy is an equally challenging skill that after practicing at home needs a tune-up. You have to commit from being a soloist to immersing yourself in the group and retaining your individuality. Following are ways to become a better team player and create powerful group performances.

Watch Each Other:

Observing each other helps dancers approach choreography and can help you observe the movement style of others. Take videos at the end of class or at rehearsals then dancers can each study and analyze whether they are dancing as a unit. Also, watch other dancers in class when you are not dancing. Watch as they go across the floor or in the center. Find something you admire and try it yourself.

Refine Your Focus:

You have to have an inner-outer focus by staying aware of your fellow dancers when you perform. You have to practice this inner focus. It helps you to feel what is going on beside and behind you as you see peripherally. As you are looking out, you are also looking in. It is a sophisticated way of focusing. This starts by using the mirror wisely in class and rehearsals. Avoid staring at yourself instead scan the room as you dance.

Master Musicality:

Timing is a must when dancing in a group. Count the music as soon as you get it. If the rhythm is unfamiliar, listen to it while standing still and picture yourself doing the choreography to it or count and clap the rhythm exactly the way the music sounds. Make sure you understand where the beat is. Focus on knowing the music backward and forward before you start to dance to it. Once you know what you are doing and everyone else does too then you will all be together

Breathe Outloud:

The breath is what keeps people together. When beginning a new piece breathe out loud. Once you know the piece (meaning everyone in the piece), then you breathe silently. This helps to keep the dynamics of the piece as one. If all dancers are breathing rhythmically and naturally then they are cohesive. If breathing shallowly it is not sharing with each other. You will not connect.

Connect Backstage:

Just like doing partner work, you have to connect. Squeeze the hands of the hands of the others. etc This allows energy to pass from one to another. This really helps! Be sure to train each dancer on how to move from the wings to the stage and how to leave the stage. This is important, especially in new surroundings This makes sure all performers arrive musically on stage.

Morwenna Assaf, Artistic Director

Art/Dance Academy, Cedar Productions, Tales1001

Walid Assaf, Music Drector,

Art/Dance Academy, Cedar Productions

Get An Uplifting Light Quality in Dance

How to achieve that enchanting quality of lightness.

This is a quality we all need to work on all the time. So how do you acquire that appearance? Lightness is an elusive quality that makes a dancer seem to float across the floor. As with all dance, these things take an enormous amount of work behind the scenes. Then it looks effortless on stage. Whether you are striving for that fast on your feet look or lightness in your arms, here are some tips to help you.

Contrast: – Contrast gives the illusion of lightness versus heaviness. You have to go back and forth between heavy & light. This is what the two are, both visible elements. The key to this is being grounded. You have to push from the floor. This gives you the easiness to lift. Once you have found oppositional energy, which comes from the legs, the core, the back, then you can lift up and move into lightness. If you are already lifted it is hard to go higher. How do you achieve this? Learn how to plie properly Strengthen those legs! The bottom half of the body is more rhythmical.

Raks el Anwar

Strong, Light Arms: – The upper body is more melody. Arm placement, holding the carriage correctly with endurance not, compensating gives you better strength and control. This will make your arms and hands lighter. Will also aid in shoulder stability. Hold your arms up with ease. Soften the elbow as you exhale. Never let it hang on the bottom. The arm is held shoulder down, elbow next facing back wall and lower than shoulders. then hands float down from there. The elbow leads the port de bras. This achieves a look of synchronicity with the body rather than the arms looking separate from the body. Or, moving on their own.

Learning to Float: – Coordinate the breath with what you are doing. Hold your breath a moment at the top of the move and then exhale when finishing. Have a clear picture of the picture you want to create. Then take a little breath at the end. Do not drop the arms down immediately. Try this with small weights, then put the weights down & try without.

Elena Lentine

Breathe Through It: – Breath control is so important to your moves. You never want clenched or stiff hands, a tense jaw, or muscles that are tense. Gripping muscles is a sign of core weakness. A good cardiovascular system and strong core go hand in hand. Practice breathing! Having a better use of breath & pressure (plie) management gives a better sense of ease and lightness.

When dancers use their breath onstage you can feel the energy and dance with them.

Morwenna Assaf
Dance Director of Art/Dance Academy
New Market, TN

760-715-2276

Morwenna Assaf

Take Care of Your Muscles

No matter whether you are into fitness, dance or tennis you need to make sure you are taking care of your muscles. You do want to strengthen but nor over strain them. Know there is a difference between muscle soreness from use and a strained or pulled muscle. Both, do need a balance of rest and strengthening. A pulled or strained muscle has distinct symptoms. You know it is not just a back from a vacation soreness.

Muscles like to be warm. Coming into class and not doing a warm up before dancing is asking for trouble. So. take the time for even a quick stretch before starting full out.
There are three levels of muscle tears.
1. This level is where a few fibers have been torn and stretched beyond their natural resting spot.

2. Level three is where All or most of the fibers have been severed.

3. Level 2 is somewhere in between.

SYMPTOMS:
1. Pain When Stretching: If it is painful to move, minimize the range of motion. If still painful you might have a muscle strain.

2. Lack of Strength: Soreness accompanied by lack of strength distinguishes soreness from strain.

3. Redness, Swelling & Bruising: Any combination of these three can indicate a a strained muscle. The onset of symptoms can develop itself differently.

TREATMENT: It is important to see a medical professional. Get it diagnosed and create a treatment plan. Muscles DO repair.
It is easy to push the muscle too much or too little. To repair properly it must be used. So think walking. If not the body will create a scar tissue instead of rebuilding. Scar tissue is weaker and less pliable than regular muscle tissue. Then, one becomes weaker and less flexible. If you push too hard you will end up with a worse injury.

PREVENTION: The best way to prevent a muscle strain is to warm up before dancing, sprinting etc. Avoid static stretches when muscles are cold. A static stretch is one that stretches beyond its flexibility and holds it there. This produces the muscle to decrease its ability to contract and use force. These static stretches should be used t the end of class to cool down as your muscles are warm. Dynamic stretching, where muscles are moving through a range of motions but not stopping at the end point for too long. You are moving the muscles back and forth like an accordion.

DYNAMIC STRETCHES:
1. HAMSTRING BOTTOMS UP: 1.Feet in parallel, hip distance apart 2. Bend knees, Put forearms on thighs with flat back. 3. Straighten knees. Lean forward pressing weight into forearms 4. Keep the back long reach out with sitz bones up to the ceiling. 5. Only straighten legs to point where you can keep back flat. 6 Squat down as deeply as possible keeping weight on knees. 7. Repeat 10 times slowly.

2. HIP FLEXOR: 1. Stand with left leg front & right foot back in a wide lunge with back heel lifted. Keep hips square. 2. Keep back straight and body centered. Slowly lower as you bend both knees. As you lower bring right arm up over head. Keep left knee of left ankle . You should feel a lengthening of the back thigh and hips into belly. 3. Bring arm back down as you slowly straighten up to starting position. 4. Repeat 5-10 times before switching to the other side.

For an extra challenge lean slightly forward and do a contraction. Do this with one hand on the barre for support.

Do not hold any position. Move slowly to the end of your range of motion and then back out of it. NO BOUNCING EVER!!

Morwenna & Walid Assaf
Art/Dance Academy
East TN 37820
760=715-2276
ArabiDanseAcademie@sbcglobal.net
https:://ArtDanceAcademy.webs.com

Face the Music

Teach them how to count the music and where the accents are. This is a basic given. Most Arabic music at a student level is counted in 8s. Learn to recognize what a beledi, masmoudi etc rhythms are. There is only so many rhythms we use to dance. Start at the beginning. Always make sure your movements are centered. Always step on the down beat of 1. Using different music in class will help keep students engaged so they do not zone out.

As s instructors we have t help students to hear, understand and show the music when dancing. What does that all mean? Not all dancers are musically inclined. Some dancers even have trouble keeping or even hearing the beat. They need basic training in the music. Most of us did not grow up with an education in Arabic music and dance so we all have to learn. Without a basic understanding of the music those dancers will never understand the what and why of their dancing. But, they can can develop musicality. There are strategies to help students find the beat, recognize the rhythms, and better reflect their dancing.

Bring a drummer in. Let them hear the music live. Live music vibrates differently in the body than recorded music. Canned music is predictable as it is always the same but a live musician helps produce the right response to the muscles. As a beginner it is always the rhythm that students have to hook onto. Have students listen and stamp to the music with one foot or clap. I usually start with just one count like #1.

Always count 5,6,7, 8 before going across the floor. Then they know that is a down beat. I also use straight 4/4 music of different speeds. Then I have them practice a short combination. I never teach just steps after an 6 week Intro class. They need to think in terms of music not steps. Make a combination , then count it. They need to understand where the down beat is and that it is stronger than the other beats. If you do not explain it they do not understand it. Listen to the music, it tells you what to do. Learn how to play the derbecki.

Once all this has settled in, the dancer then needs to move into the melody and instrumentation. The melody gives you the feeling. But the instrumentation tells you which part of the body to move and . One simple step can be done in a hundred different ways to evoke the feeling needed. Finally there is staging. Most club dancers do not think of staging as they just play to the audience. But, any other types of setting you need it.

You need to make patterns on the floor for a reason. Otherwise it all becomes mundane. Choreograph a theater piece and you will see what I mean. There has to be a reason in why you are going where you do. You need advanced training. Not just average training. When you choreograph you have to listen to the music. Do a viral show on camera and then critique it. Or better still have someone else, in the know, do it. You cannot just stare at the camera. That is like dancing for 1.

So get with the program. Do your students and yourself a favor. Learn about Arabic music.

Morwenna Assaf = Author, Choreographer & Educator
Walid Assaf = Percussionist, & Educator https://ArtDanceAcademy.Webs.com

Artce Academy, USA 760-715-2276 ArabiDanseAcademie@sbcglobal.net

Use Coaching to Improve Your Dance!

Some dancers seem to stand out beyond the others. They have it all. They have mastered what is needed to be a great dancer. No, it does not happen overnight. It is hard work. Getting someone to coach you is so very important. You need someone to guide you. A general studio teacher can give you a head start but is not necessarily the one who can make your rise to the top. Find a dance coach to help you be it in the studio or as so many are doing today find someone virtually. Do not stop your regular classes as they are important. Invest the time and the money into something special which is you. Here are some hints to help you until you find that special person

Dance Outside Your Comfort Zone: If you love Orientale, fine! Now work on Folklore. Folklore is people. There are so many different styles. You might find you like it. It will had depth and distinction to your dance. Pick dances you find difficult. Learn how to be comfortable there so you can express what the dances mean and be part of that tribe.

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Push for Tougher Choreography: Work on dance that is above your level. Work on those extra turns etc. That is what class is all about. Work beyond your comfort zone. Yes, you have to be comfortable when performing. But, in class and practice, if you do not extend yourself you will never grow.

Analyze Every Step: Not only steps but every single movement you make, in every way, shape or form. Make sure you are using the right muscles. This is the way you get longevity in dance. Clean up arm placement, yes. Then look at every step. Look at all the details. Ask yourself am I using my back to support my arms and and overall alignment Then, do this to translate everything you do.

Study your Transitions: This is the space between steps and timing. This helps with technique all the way around. This also helps with timing. Make sure you breathe. Make sure you plie when needed and that when you releve your placement is correct. Make sure your weight is correct when coming out of a turn.

Build Strength with Musicality: Work with the music. When the music swells make that movement juicier, this way your supporting leg will get stronger as you develope the movement. Play with the way you approach your arms. Your arms work with your movements. They are not an added flourish. port de Bras also help with upper body clarity if done correctly. This improves your total carriage and makes a full picture.

Fill In The Blanks On Your Own: If you are struggling with parts of a solo, pay extra attention to particular movements in class. Try working the combination that is giving you trouble on the opposite side. Emotionally connect to your work. Without emotion you have virtually nothing. Research the movement and get a full understanding of the work and of the movement.

Now you have a place for thought. Start here! Work on your own and in class on the above things. Find a dance partner to work with. Hopefully, someone at least on a par with you of better. Help each other. Then search for a coach. We can help you. It is what we do.For the past 20 years or so this is what we have done. We help with not only the movements in both Raks Orientale but also in different regions of Egypt and Lebanon for Folklore but also the musicality, choreography, improvisation and staging required in all forms of Arabic Style Dance. If we do not we can put you in contact with someone who is a leader in the style you want. If you are a teacher who needs help contact us. We can help!

Morwenna Assaf = Author, Choreographer & Educator
Walid Assaf = Percussionist, & Educator
Art/Dance Academy, USA
760-715-2276

ArabiDanseAcademie@sbcglobal.net

Do You Want to Dance Forever? Here is How!

At any level of dance there are certain thing you should know. You should include cardio and and weight training to prepare you for the demands of dance. This is true, no matter the style. This will make you stronger, have more endurance and better technique. You will not gain bulk but will have more developed muscles for what comes in your dance training. Do not stop your other activities. Have outside activities, than just dance. Try a yoga class, Somatics, or Pilates class. People who do keep healthier and can help make you a better dancer. So, have a life! Early retirement is no longer a given. Caring properly for your body will ensure that you can dance as long as you want.

If you are very supple, take heed. You must control your range of motion to prevent injury. If you are tight you have to be careful too. You are the other end of the spectrum. It is all about control. Be patient and focus on good technique! No one wants an injury. Always warm up before you dance. Dance training can become very repetitious. Do not let it become mundane. Listen to your body. Learn the difference between soreness that comes from working hard and getting stronger and pain from overdoing. There is a difference. Recognize it! Overdoing will affect your ability to perform and limit your future. Do not be afraid to try new things. Investigate any injuries. Do not ignore them. Plan your recovery. Ask yourself how you feel in your body every day. If not up to it, do not go to class. “Experience gives you more choices” says Risa Steinberg, so find them. Remember flexibility declines as you get older. Be prepared. Be realistic on how you need to adapt without losing your technique.

Make sure you eat properly. You need the energy. Under-nutrition can affect dancers of all levels. It creates a hormonal imbalance and a slow healing from injuries due to low bone density. Make the necessary adjustments to your classes. As you get older it is harder to dance with no discomfort. Make sure you are breathing properly. Breathe fully and think of moving with less force. Use your emotions and feelings while maintaining your technique. Make sure you have a health care team that understand your needs. Maybe, seek advice from a dietician. Maintain your body. Take two days a week off from dancing. Sleep at least 8 hours a night. Dancers usually have busy schedules. As you age you might want or should cut back. Be extra vigilant to rest and recover. Work with your body, do not ignore it.

CEDAR CAFE

Remember experience gives you more choices. Your years of study and good technique are there to support you. Rather than focusing on things you may not be able to do anymore, listen to your instincts and use other moves and feelings. “Play the instrument you have” says Gus Solomon. Remember when you first learned to do improvisation? Get that feeling back. Create! We are performing Middle Easter Dance of one form or another so pace yourself. We are always dancing! There really is no stopping. Follow your dream but just be sensible.

Morwenna Assaf
https://Tales1001.webs.com
Tales1001@sbcglobal.net
760-715-2276/865-375-0446 Morwenna & Walid Assaf
Dance2Drum/Drum4Dance

 

 

 

The Veiled Dancer

I was going through old papers and found an article from an Arabesque Magazine dated March/April 1994. This magazine was published by an old friend who was also my dance teacher for over 20 years the late Ibrahim Farrah. When I saw it I was immediately drawn to it as my friend Elena Lentini and I had just spoke. She had one of these statues and had shown me hers. I also because of her have one too. This statue is at the Metropolitan Museum of Art in New York. I will not be repeating the whole article. I am just giving you an over view of this fascinating subject. The pictures are taken of my statue so you can see the depth of the art here. If you have ever seen Elena perform you know that this statue is the basis of her veil piece. So, enjoy this synopsis. When in NYC go to the Museum make sure you see this beautiful piece of art handed down to us from the early Hellenistic age in Egypt.

Ancient dancers

This tiny masterpiece is only eight inches high has come to us from the ancient world. Scholars have placed the statue at around 225-175 BC. She is so exquisite and a rare example of both Hellenistic sculpture from Egypt and complex natural looking pose depicted in dance movement from antiquity. The ancient origins can be seen here for those interested in the in the origins of Middle Eastern Dance and historians alike. You get an enriched appreciation for this style of dance. Many Greeks absorbed many Egyptian cultural elements.

Most amazingly she has Egyptian eyes reflecting the distinctive enhancement of Egyptian eye makeup. This touch of the Orient raises the possibility she could have been an Egyptian dancer. He costume reflects the rich culture with beads ans spangles. Plus she is wearing a mantle or veil The naturalness of her movements, her shy demeanor and her garments all are the perfection of a dancer’s pose. The skillful handling of her draped veil to enhance her movements, suggest a professional dancer. Her large, beautiful eyes shown averting her glance and drawing the veil across her face as her glance suggests inaccessibility.

She always eludes us as she draws her cape/veil around her. She extends one leg drawing the veil around her to highlight the movement. She is caught mid-step. She is perfectly balanced. Could she be dancing a Hellenistic cult dance to one of the gods or goddesses? Or is she dancing a more generic type of dance? She has the artful combination of modesty and flirtatiousness. She subtly holds the material to draw attention her hip and the soft contours of her body. Maybe, hoping to attract the attention of the young men in the audience?

She looks like she is doing a traveling step. Possibly a glisse’ which was very popular in the ancient days. Her weight is evenly distributed while maintaining a pose. The extreme angle of the dancer’s body as she glances back over her right shoulder suggests she is moving in a circular manner. The sculptor may have chosen this from her entrance.

Today’s dancers often costume themselves in much the same manner with a voluminous skirt and diaphanous veil. Across the span of of two millennia, the little dancer from Alexandria is their antique sister, a timeless embodiment of the eternal feminine expressed in the dance.

The original piece written by Patricia Friedman

Written by Morwenna Assaf
Tales1001, New Market TN
https://Tales1001.webs.com
Tales1001@sbcglobal.net
760-715-227

GET OUT OF A DANCE RUT

No matter what your situation or your level of dance, this is inevitable at any stage of your career. Maybe you just got a job? It has been fine so far but you do not feel like you are growing as an artist. You are in a rut! These slumps hit hard no matter at what level you are. They are difficult to shake but with the correct mindset you can and will find your love for dance again. Now, as we face this pandemic that is affecting all of our lives we need to readjust.

The way of a dancer’s life

Why does this happen? Maybe you are focusing on the things you have given up for dance and not focusing on your accomplishments. At first you are really excited, then at some point you lose momentum. You start looking at what you left behind and not on what you have accomplished. It can be frustrating. You feel stagnant. You are in a motivational hole.

Initially you are grateful but then the excitement wears off. The mind-set changes. You want more out of this life. It is a natural part of the developmental process. Dancers need the tools but also the strength to be able to face all the challenges that come with the territory. You have to be more independent to be successful. It is part of the education and journey. Sometimes you will feel invisible but that does not mean you are doing something wrong. You are just not the main topic of conversation. At times you need help adjusting to a move or a situation. At other times you do not.

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OVERCOMING:

With practice you can overcome this set back and get back on track.

1. Set Reasonable and productive goals:
Focus on what you put into your work. Not, what you get out of it. Goals should be centered on things you can control: Applying corrections. Etc. Work on it.

2. Sit in on rehearsals and classes:
See shows – you need to be inspired. Look for other inspirational outlets. Take a class in another style. Another teacher maybe. But, make sure you take classes even if it is on line.

3. Expand your horizons:
Most people start dance as a hobby but then it becomes work, the joyful escape is gone. Find something else for a hobby. I happen to write.

4. Do not forget your value:
Realize you are needed where you are. You are valued.

Hopefully, these suggestions will help you. Even after 40 plus years in this business I have my days. After a week or so of doing nothing, I realize I am here for the long haul and will always be a part of the dance world. It is who I am!

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  A working artist at that!

Morwenna Assaf
Tales1001

Tales1001@sbcglobal.net
https://tales1001.webs.com

865-375-0446 or760-715-2276

Sawt al-Wadi

SAWT AL-WADI = Voice from the Valley

Another momentous occasion at the Rose Center in Morristown, TN. The one spot you can find culture in Eastern TN outside of the little in Knoxville. The Rose Center presented am Arabic musical group. They were from UT. (University of TN). The concert was one of a kind. It just happens to be led by someone we had met before several times at UT functions. This is the incomparable Lillie Gordon a former professor at UT.

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  Our Happy Place in Knoxville TN

Set up for music in TN

I remember her telling me a few years ago that she wanted to start a musical group of Arabic musicians. By this, I mean that all the music performed would be from the Middle Eastern/Arabic countries. Well, she has done exactly that! What a feat! Most of the musicians were Americans. They were trained well. The singers were amazing. Notably, the three women, who had very different voices. All excellent with true Arabic sound and feel. No competition between them. They were each wonderful

Lillie Gordon with Oud and and violin player

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Walid, Sound man & Karim the singer

We invited some friends to be exposed to the real thing. There were six of us. I was afraid we might be the only ones in the room. The auditorium was filled. Out of curiosity, I believe! Most people in this area have no idea about the people or culture of the Middle East. Let alone the musical history. What is this Arab music? Aren’t they all terrorists? The room was filled and set up with tables. We had a center table reserved for us. We were obviously the only table with inside knowledge of the music and the traits of the people. There were several tables that came in from the Appalachian mountains. They love music and were curious. They loved it.

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Candy doing introductions

Lillie made everyone feel welcome by explaining the instruments, and the type of music being played, the maqams and which country each piece came from. Everyone felt comfortable and understood. Lillie herself, besides singing, also played the violin and the oud. She also did all the announcing and explaining. She introduced each member. It was a spot of Middle Eastern graciousness. It was like being in a Middle Eastern home. Wonderful! The variety of of different areas was amazing.

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Flier

Walid and I knew most of the music. Made me realize how much I miss the community and hearing the music live. It was like coming home for us. Even I, could sing along and I do not speak Arabic. It brought tears to my eyes. Thought of the days in Boston when we were out every day engulfed in this wonderful life of music and dance. Gone are the days of that Arabic connection that is so rich and tasteful. Even the big names in the ME do not get to come to America these days.

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Beautiful female singer

What a wonderful evening. It was exhilarating and amazing. I thank Lillie Gordon for her excellence in training these people. The male singer we enjoyed the most was Lebanese. He is a student getting his MD at UT. His name was Karim. Then there was Sumer a Palestinian girl with an amazing voice. Of course, then there was Lillie who was amazing. She played the oud, violin and sang. What an amazing treat. The music covered the areas of Egypt, Syria, Turkey, Sephardic Jewish, Iranian and Lebanese. A great blend of new and old from the areas.

I certainly hope that they will be back in our area. This corner of the world needs to feel the presence of people from other areas of the world. Or, even other areas of North America. It educates so people understand all people are human. Not to be afraid of people who think or play music a little differently Brings us all together as one family of humanity.

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  The Rise of the Phoenix

Until the next concert, we will support The Rose Center and the musicians and artists who frequent the center. It is a little piece of heaven for us in this place we call home after traveling the world. We have settled here and but so enjoy the culture of others.

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Morwenna & Walid Assaf

http://Tales1001.webs.com
tales1001@sbcglobal.net
760-715-2276 or 760-715-2220
Next concert at The Rose Center will be Fri, February 28th 7pm. Free and open to the public. Help us support the artists.

The Rose Center

What a beautiful name for an absolutely fabulous place. As I was perusing my emails back in the week before Christmas, I came across an advertisement for a FREE concert. This sparked my interest. I had no idea what to expect. We decided to go as we live in an area where the arts and culture is next to nothing.

The Rose Center is located in Morristown, TN about 15 miles from where we live. The function was called “Java Jive”. We got there about 6:30. Found our way to the theater which is actually a dual purpose room. It was set up banquet style. A beautiful room that was decorated for Christmas.

At 7pm sharp the musicians entered the room. We were in for a treat. The show was called “Christmas With the Collective” The leader of the group was Antonio Gomez. There was an excellent guitarist, drummer and a female singer. They were a jazz group. Now, Jazz is not my favorite thing but they were so good and so professional that we enjoyed the whole thing. I was mesmerized. I am hooked on these concerts.

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We are totally hooked. We spent considerable time talking to the artists. Plus the director of the Rose Center and people in the audience. These monthly concerts are open to the public and sponsored by the Tennessee Arts Commission. You can bring snacks and beverages in. Everyone is so cordial. We will be going back. This week is a concert by a guitarist. I will be sure to take pictures.

If you are interested in the arts or just music. Add their schedule to yours. The artists they bring are so talented. You will have an evening out with great people. Will not cost you a dime unless you want to donate. They do pass the hat. There is no pressure. Support the arts commission by attending. This also supports the artists from the area. There is something for everyone’s taste. The Rose Center is downtown Morristown. There is plenty of parking. Enjoy the evening and listening to music. See you there.

Morwenna Assaf, New Market, TN
Tales1001@sbcglobal.net