Morgiana—The Desert’s Daughter

Pursuing the Sonoran mystique is nothing new to those of us who’ve made the Valley of the Sun our permanent home. Folks of even the humblest means here travel the countryside to see the out-of-a-dream-or-lunar-landscape flora, fauna and geology. Valley residents find cause to celebrate under the open night sky, immersed in fragrant resins of dense, lush, low-growing desert plants, especially by the light of the moon. So, it’s no wonder that a bright soul spending their childhood here blossoms into an unique and spectacular presence. Such is the case with Valley wide favorite professional dancer, instructor and producer, Morgiana of Tempe.

A statuesque beauty with raven-black hair and riveting blue eyes, she cuts the classic figure of an entertainment professional, what the ancient Egyptians called the Hathor. Originally a position of high honor in the Egyptian community, the Hathor was the consummate courtier, incredibly beautiful, highly skilled in the execution of domestic, fine, and sensual Arts, and bound by a self-willed pact to the service of some aspect of the divine Feminine. Any one who’s ever spent an evening, or even an hour, with Morgiana, could tell you this description fits her perfectly.

This daughter of the desert has been studying dance in various forms since the tender age of four, when she began a six-year exploration of basic ballet, tap, and baton performance. Then, bitten by the dance bug, she studied Modern Dance all through her years at North Phoenix High School. In 1975, a pivotal event shifted her dance studies to the Middle Eastern genre when she met Phoenix college bellydance teacher, Kajilara. Kajilara and her troupe, the Sundari (?) Dancers, offered a way-in to this most mystically beautiful form of dance that was irresistible to young Morgiana. Feeling she’d found her niche, she joined Kajilara’s troupe and built her foundation in Middle Eastern dance solidly over the next two years.

In the late seventies after her introduction to ME Dance with Kajilara was complete, Morgiana had two private instructors, Shahala, and then Samra. Continuing with the study of ME Dance, Samra’s lessons also returned to Morgiana’s roots with exercises and choreographies in Ballet. Broadening the spectrum one step further, Samra also introduced Morgiana to the ME Folk or “Tribal” styles. Another resonance had been struck in Morgiana’s awakening to the dance. From then on, the earthy, sensual spirituality of Middle Eastern Tribal styles fascinated her and drew her study as well. Particularly appealing to her was the Tribal costuming, and it was during this period that her involvement in costume studies and drafting became seriously focused as well.

In the years since this early initiation period, Morgiana has kept her commitment to ongoing dance technique education. She has sought mentoring and attended workshops taught by many celebrated dance and music professionals, including Marliza Pons, Fahtiem, Helena Vlahos, Mesmera, Dalilah, Jameela, Kathryn Ferguson, Dahlena, Dalia, Amaya, Ibrahim Farrah, Bert Balladine, Aziz, Zuleka, Badawia, Kishma, Nakish, Jodette, Natasha, and so many others, every one of  them exemplary and praiseworthy professionals, perhaps not listed, but only for brevity’s sake.

Throughout the late 70’s, and until September of 1980 when she gave birth to her son, Morgiana made her mark in the performance community. Her first work was as a performer for Western Sing-a-Gram in 1977, which she continued to do occasionally until 1980. Soon, her increasingly polished skills landed her regular engagements at the Valley’s finest, most famous venues, including her club debut at the Phoenix 7^th St. hotspot, The Seventh Veil.  She continued to perform at the Seventh Veil from 1976-78, and also appeared frequently at The Pyramids from 1978-80. Sword-balancing became her best-known act, and continues to be a favorite performance for her even today. After recuperating from the birth of her baby in 1980, Morgiana swiftly returned to the dancer’s life. Other clubs featuring her performances in those years included the Baghdad, Aladdin’s, the old King Tut’s, The Grecian Village, Andros, The Bacchanal, India Palace, and a well-publicized engagement as house dancer at the now (regrettably) closed Moroccan Restaurant in the early 1990’s

After working on the performance floor for a few years, Morgiana also began to teach, feeling it offered a great way for her to continue her own growth. In the late 70’s she founded her first troupe, Musalim Sais. A natural at teaching, she found the experience rewarding and productive, but performing at restaurants as a soloist remained her primary effort. In 1986, a car accident injury forced her to dissolve the troupe entirely, but the teaching experience had captivated her, and she emerged from convalescence with a new resolve; to not only perform, but to learn all she could about the Art of teaching. Dedicated study and lots of legwork got her off and running as an instructor, fitting easily into the role thereafter at many outlets, including classes at Bookman's, Mountain Side Fitness, Tempe Parks and Recreation, Gentle Strength University in Tempe, Body Works Studio, and Southwest Institute of Healing Arts in Scottsdale.

Out of her teaching, the troupe experience inevitably arose, bringing about her formation of Egyptian Cartouche in 1991. Egyptian Cartouche continues performances to this day, showcasing Morgiana’s pupils at their best. A second troupe, the Daughters of Isis, was formed in 1998 to accommodate the growth of her Tempe student base. Many fine area dancers have gotten their start with one of Morgiana’s Parks and Rec. classes, and they remain an undeniably good, inexpensive way to begin an exploration of Middle Eastern Dance. From troupe work, Morgiana has extended her ministries to production and community service. Since the early 90’s she has staged many mini-workshops and charity benefits, ever widening the scope of those she is able to touch with her very appreciable and praiseworthy efforts and performances.