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.

Like our captivatingly exotic desert home, Morgiana radiates resilience, diversity, and splendor; a jewel in the crown of the Valley of the Sun’s performance community.