JANS – The Mississippi Jazz Foundation will present the seventh annual “ Night of Musical Artistry” featuring national jazz recording artist and Grammy nominee Lalah Hathaway and Mississippi’s own national recording artist Michael Burton, Friday, Dec. 10, 2010, at the Historic Alamo Theatre on Farish Street in downtown Jackson at 7 p.m.

Honorees for this year’s event are Dowell Taylor, assistant professor of music at Jackson State University; Rhonda Richmond,  singer/instrumentalist; James Stamps, professor of music; Sandra Polanski, APAC music chair; and Tommy Tate, songwriter/producer.

Born to Donny Hathaway, one of the most influential soul artists of the eighties, and Eulaulah Hathaway, an accomplished musician in her own right, Lalah Hathaway first put pen to paper, “with the music,” as a 10th grader.  Later, as a student at Berklee College of Music, she recorded her self-    titled debut in 1990, which spawned the hits “Baby Don’t Cry,” “Heaven Only Knows” and “I’m Coming Back.”

She returned four years later with A Moment, followed by the much-lauded The Song Lives On, her duet album with Joe Sample in 1999, the same year she began growing her now-signature, cinnamon-hued ‘locs.  By 2004, she’d deliver her fourth album, Outrun the Sky, garnering Hathaway her first number one single, the Rex Rideout-produced cover of Luther Vandross’ Forever, For Always, For Love, which was also featured on the critically-acclaimed Vandross tribute album of the same name.

In the meantime and between album projects, Hathaway – whose recorded collaborations with Marcus Miller, Meshell Ndegéocello and Mary J. Blige, among them – keeps her creativity nourished by taking to the global stage and contributing her voice to Daughters of Soul, a musical mélange founded by comrade, Sandra St. Victor, and featuring Nona Hendryx, Joyce Kennedy as well as Indira and Simone, daughters of Chaka Khan and Nina Simone, respectively.

Tickets are $35.00 and are on sale at the Coliseum Box Office, BeBop in Maywood Mart, Mississippi Jazz Foundation board members and Ticketmaster. Call The Mississippi Jazz Foundation Office at 601-594-2314 to purchase tickets or to become a member of the Mississippi Jazz Foundation.

For more information, visit www.missjazzfoundation.com.

What comes to mind when you think of belly dancing? Does an eyebrow raise with a predictable response? Do you think of gypsies shimmying from town to town or Arabian dancers executing a sexual harem dance? Or do you vision a group of exotic veiled temptresses in the night gyrating, swirling and sitting on laps? Well think again. Contrary to popular belief, you don’t have to be athletic, sophisticated, young, thin or exceptionally beautiful—or a female. There’s nothing mysterious about belly dancing. Yet some claim that it’s highly spiritual, metaphysical and hynotic.

It’s not a striptease. It’s not a vulgar, immoral or sexual dance and it never has been. A belly dancer is like any other respectable artist. It takes great concentration, focus and choreographic coordination. Ownership doesn’t lie in the profession itself. It doesn’t control you. You are the artist! Some compares the art form to emulating a butterfly. Like a cocoon, it’s an exploitation of getting in touch with oneself—knowing thyself and freeing the mind from inhibitions! Take it to the level you wish.

Ever heard of Afrikan belly dancing or Beledi? It is pronounced “BELL uh dee”. What I found interesting was that in some instances a cane can be used in the dance as well. It’s been around since ancient times, although orally there has been an issue of where belly dancing originated. Dance du ventre (belly dance) comes from the French which means  “dance of the stomach”. Raks sharqi  is Arabic for “Dance of the east” and is most commonly performed by both men and women.

Instructor Maati Jone Primm says,“Actually, Kemet is where it originated, and there is evidence to support that belief, including artwork or hieroglyphics on the walls of Kemet.  It began in central Afrika.  We were a spiritual tribal people who were one with each other, nature and the earth. Everything we did had a purpose and was sacred. Kemet was the ancient land that we now call Afrika or Ancient Eygpt. However, belly dancing has a long history is the Middle East.”

“I loosely call the art form  Afrikan belly dance. It is really a healing dance for people of all ages and body types. It’s a respectable art form discipline—a healing type of medicine or therapy! If nothing else, it’s a great self-esteem booster. It was created thousands and thousands of years ago by Afrikan women who wanted to help and heal the body from stress and discomforts such as childbearing, back, joint, and shoulder pain and other ailments that deal with the female cycle. It’s a unique, graceful and sensual way of staying fit. Belly dancing is also good for the heart. You get a good cardiovascular workout. It also tones the body and straightens the posture. It’s amazing that an ancient thing such as this has never died. It has never gone out of existence.”

“When the Arabs took over Ancient Egypt, they adopted the dance form but they didn’t take all the aspects of the dance like moving from back to front. They adopted much of the side to side and swirling movements. Again there are so many different cultural variations of belly dancing that are used around the world.”

Maati explains why her style of teaching is so unique and why she’s bringing a new kind of sexy back to an ancient art form. “I have been interested in belly dancing for years. I inherited the class from Monique Davis, owner of Lumpkins Bar-B-Q and brought it to the the Farish Street District. I really enjoy it—immensely!  It’s been here a few months, and it’s a really beautiful thing. Please do come on Thursday nights from 6 p.m. to 7 p.m. and Saturdays at 9:30 a.m.  Now…my style? The style I teach is so unique because I incorporate Afrikan principles, language and music from various Afrikan cultures that connect the mind and body together. We do it with soul music too. It’s something we feel and know well. It’s in the blood.”

It’s ingenous and fascinating how Maati incorporates the principles of Kwanzaa (Nzguza Saba), Afrikan language and other types of culture as part of her teaching method. “It’s spiritual, harmonious and connects with being one with life while reinforcing, maintaining and strengthening our collectiveness as a people by honoring our past so that we may have a prosperous, positive and most productive future. Says Maati, “Umoja, the first principle means UNITY. The various kinds of music that we dance to like Prince, James Brown, Ohio Players, Aretha, etc. get us going and help us synchronize in a unified manner and come together proactively. Everybody’s moving on the same beat. Overall, we can see how unity benefits us as a people.

Kujichagulia means SELF-DETERMINATION. Part of self-determination is naming and creating things for ourselves. As a culture, we spoke in different languages. We used principles of the Akan such as Sankofa which is an ancient principle that states that we must go back and retrieve our treasures in order to move forward in a very positive and productive way. We appreciate where we’ve been and who we are. Focus…forward we go. Do your best.

Ujima means COLLECTIVE WORK and RESPONSIBILITY. “This is where I have people who assist me and supply me with some of the things that I need. We help each other. It’s about reciprocity. We take care of our community as well.” Maati has done just that by employing homeless people among others in the Farish Street District to work with her on a variety of projects.  It is admirable that this is the route Maati has chosen. “There are people who come in and help me cleanup, greet and help as parking attendants. We are all sharing the resources.”

“Ujamaa means COOPERATIVE ECONOMICS. Before integration, we owned shops, businesses and had to rely on each other. We must not be afraid of this concept. We must think about our youth. What do they have to look forward to if we do not instill self-worth. It starts in our homes and in our own backyards. We’re not out to become rich or to make a profit. What we want to do is to give back to the community. So I priced the classes as a good-will offering of five dollars.

Then we have the concept of Nia which means PURPOSE. There’s a purpose for us to come together and heal. We have been told many times that Afrikan women are not really beautiful physically. We’ve been told that our hips are too big; our lips are too big; our nose is too wide and our hair is too kinky from those that don’t have it. What an illusion! We must thoroughly understand and know that this isn’t true. We must honor our bodies and see ourselves as beautiful first from the inside coming out, and then from the outside going in. This is therapeutic in itself.” Maati hits the nail on the head. “We’ve taken the wooden nickel too many times. If you can’t be you, then who are you? Kuumba means CREATIVITY.  There’s excellence in using your imagination to create. Dare to dream. A proverb states “Change happens at the speed of thought. Alice Walker said that the most common way people give up their power is thinking they don’t have any. Maati strives to share her creative energy by instilling and teaching that each one teach one so that we leave our community and earth more beneficial and beautiful than we inherited it. The last of the Nzuga Saba is Imani. Imani means FAITH. What we do is place faith in the instructor and in ourselves that we are doing things in righteousness and in the correct way. We must have faith in each other—that we will help each other and work as a team toward proactive victory for all. Where you are weak you receive help and where you are strong you give back because you are only as strong as your weakest link.

My goal is to promote a sense of balance by helping women get in touch with their WHOLE body. We as Afrikan people have been through so much and have never really healed from it. Thus, my class helps eliminate and alleviate toxity in our bodies and minds—you know—reduce all those types of negativities. It’s on a different level of spiritual consciousness. Part of being healed is understanding who you are and where you come from. We were people who were creators of mathematics, science and so forth. Look at the architecture in Afrika. How the pyramids were built is still a mystery. They still stand today. It’s not easy when you have been lied to and abused for such a long time. We’ve been taken and torn apart from our culture. What names are we calling ourselves. What meaning does it bring? That is why I talk about Sankofa so much. From the beginning of time, we were at peace, in sync and harmonious. Some have used belly dance as a sexual tool to entertain men. We are not about that aspect of it. My classes are designed to heal. If nothing else it’s the joyous feeling of women coming together, finding laughter and peace. We come in and recapture our spirit of what it means to be us. That’s why I’m taking belly dancing back to its origin—back to Afrika.. Jokingly, Maati says, “In other words, my teaching is for the mind and the behind! It’s a very peaceful process!”

My students all testify to the benefits that they have received in this class many of them have haqd cronic back pain. Some have been onmedication and have been able to lower their dosage or completely eliminate medication all together. Surprisingly, many belly dance as a full-time career. It’s a wonderful thing.I’m going to dance for the rest of my years! You are invited to our recital extravaganza, February 19.  It’s the third Saturday in February, which is also Black History month. Will give further information on location and time.

Earlene Brown is one of Maati’s students and says she has been doing belly dancing for about six years. Since she has taken the Afrikan belly dance class she has learned to appreciate the Afrikan origin, cultural and spiritual art form of the dance. “What makes this class unique is the history that is taught to us and incorporated into the dance. Belly dancing emulates feminine moves. Afrikan women designed it for Afrikan women. We also used it to pay homage to the Mother Land. I did more cabaret style dancing in the beginning. I love the fact that we can do it to any kind of music. But what is most fun is dancing to the old school music and the music we know. I love that! That’s why I come to class. During the week, we have to act to reformed and stiff. This class makes you feel like a woman. It’s not a sexual dance to me at all. It’sensual and we can lose that as women. And I’m not a very girly-girl person, but this class makes me feel very feminine—in touch with myself. Don’t get intimidated about the pre-conceptions of what belly dance is. Learn the history of where it came from.  It’s what our forefathers taught us that was lost.”

Patricia.Friday joined the class because she heard this art form was good for menopause, arthitus and the like. “I have lower back pain. Since I have been going, I have been feeling better and better. Maati takes her time with us. She explains and uses examples. For example, we imagine wiping the cake mix from around the bowl when we rotate our hips around from side to side and so forth  I love the technique and the music. Much of it is R&B, soul and funk! It’s a good thing!”

Stephanie Horn is a native of Chicago, Illinois. She’s been in Mississippi for about six years. “I started taking belly dancing with Monique Davis, owner of Lumpkins restaurant. Not only do we learn the movements of the dance, but we learn about Afrikan language and culture at the same time Maati defines where the movements come from. It’s good to know what you are doing and what body part it affects. In other words, you know what its affecting internally as well. This dance is for everyone. We all can do this.”

Rowena Burke.enjoys the historical components of the class and has enjoyed movement all her life because she wanted to be healthy. “I love the fact that it truly points back to Afrika. I love how we ban together and the sister connection we have. We hear music from the 1950’s ,60’s  along with hip-hop, calypso and carribean just to name a few. It’s a fusion of sounds. I also like the fact that you don’t have to be thin as a wafer or have a certain body type to do belly dancing. That’s not what is important. It’s about being fit and having a body that’s strong and overall its about feeling good about yourself.”

Maati is also owner of  Marshall’s Music and Book store located in the historic Farish Street.District.  “It’s a Christian Book Store. Not only do we sell positive literature and supplies but we also sell history books and other pertinent and conscious information.. I can be reached at 601-355-5335. We are open from 10 am until 5 pm, Monday through Friday. And I open from 10 am to 2 pm on Saturday. The store has been in my family for 45 years and I’m the third generation to own it.

Maati’s lasting words is asking others to take care of themselves. “Your body is your temple and self preservation is crucial. It is your own responsibility to assure that you take care of yourself. For instance, when we don’t eat correctly we are damaging our temples. The creator gives us one body to live in. We can’t abuse and throw down our bodies and pick up another one. Limit meat eating and increase the vegetation. Drink clean water. You will see that your health will improve greatly. What works for me is also taking vitamin-mineral supplements and getting plenty of REST. Give yourself rest! Take time out for yourself.  Maati’s added advice is to find a hobby that you enjoy. Do it regularly. It will really improve your quality of life. The better condition that you are in, the better you feel and the better you will be for your loved ones and the people around you. There is nothing worse than to be sick, ailing and in pain. You can have all the money in the world and nothing compares to feeling good physically and being thankful for the things we have.

Maait spends much of her time doing community work  “My main concern right now is freeing Glady’s and Jamie Scott from an unfair and wrongful incarceration that they have been serving for nearly 16 years. They were convicted of stealing 11 dollars and were given consecutive double life sentences. They did not do the crime. They have no prior conviction. They did not murder anyone. They are two very lovely young ladies. Unfortunately, Jamie has lost the use of both kidneys. She suffers from hypertension and diabetes. For people who want to help in freeing the Scott Sisters, please do look online at  www.freethescottsisters.com for more details. We had a rally on  September 15, 2010.. One thousand people were in attendance. The news media reported less. We walked from Farish Street Park, past the Governors Mansion to the state Capitol. We have 1,800 petitions. We intend to pursue justice and justice will prevail. This is part of the healing. And we need healing in Mississippi!

Harold Dorsey

By Earnest McBride

JA Contributing Editor

Jackson artist Harold Dorsey will be inducted into the University of Arkansas at Pine Bluff’s Alumni Hall of Fame during ceremonies scheduled for November 5 at the Pine Bluff Convention Center in Arkansas.

Dorsey graduated from UAPB (formerly Arkansas A.M. & N. College) in 1960 and notes that he studied there under Art Professor John Howard. He was introduced to the university’s art program by his first teacher-mentor, the late Jeff Donaldson, who taught Dorsey at Lanier High School in the mid-1950s.

UAPB Board of Directors President Hannibal Bolton II said in the letter announcing Dorsey’s selection for the Hall of Fame that his work well deserves such high honors.

“We are deeply indebted to you, not only for being a champion of higher education, but your contributions to our Alma Mater and your personal career accomplishments in your chosen field is a testament to a UAPB degree,” Bolton and his fellow board members said in their notice to Dorsey. “This honor is well earned. It is not only a compliment for the past but reflects upon the future.”

Dorsey taught art at Prairie View University for 20 years before retiring in 2008. Over the years, he also taught and/or worked as artist in residence at Mississippi State University, Jackson State, Tougaloo, Alcorn, Grambling and the University of Colorado, among others.

The recipient of numerous awards and honors during a career in the arts that has lasted for more than 50 years, Dorsey pointed out an Urban League Fellowship of 1969 and a Ford Foundation Advance Fellowship of 1970 as two of his proudest achievements.

Dorsey sees the mission of creative artists of color as one of employing their talents to both stabilize and to advance African American culture. At the height of his renown in 1997, Dorsey conveyed his views of the social imperatives that black artists should be aware of.

“Black artists must become culture stabilizers, enlightening our people of our ancient past before Africa was raped of all that was holy,” he said in a 1997 Jackson Advocate article. “The black culture carrier must reconstruct the black cultural heritage. He must restore old values, introduce new ones and direct his people toward togetherness.”

Reflecting on the developments that were important in galvanizing his philosophy, Dorsey emphasized the importance of going beyond pure esthetics and youthful trendiness.

“The young black artist is charged with the task of not only rendering an object of soulful beauty, but also – and foremost in importance – he is charged with creating a cultural unifying force for black people, through the art object,” he said.

Dorsey gave form to his deepest beliefs in many examples of his own works. In an exhibit of his sculptures at Prairie View in March 2007 under the title “Homage to African Aesthetics,” he gained the praises of many art lovers who until then had not been aware of his unique talent.

Brian White, a political scientist and one of Dorsey’s colleagues at Prairie View, commented on the depth and raging energy he perceived in Dorsey’s work in bronze and stone.

“I think that it is good because it highlights the beauty of black history and culture,” White said. “I see the Ankh on the statue that represents the preservation of life and how that’s manifested through the idea of knowledge and respect for culture.”

Founded in 1873, UAPB is the second oldest college in Arkansas and the oldest historically black university there. It is the only university specializing in the field of aquaculture that has led to the development of a $1.2 billion fish-farm industry in the Mississippi Delta region. Besides Dorsey, one of UAPB’s most famous graduates is L. C. Greenwood (1969), a member of the Pittsburgh Steelers famous Steel Curtain defense system.