Mountain Dancing: a Solo Performance

The place is up the hills which border my city on the Eastern side. Properly speaking these are not hills but a Sierra Morenica, result of remote glaciation eras, when the ice masses slowly flowing from the Vallee d'Aoste and Switzerland built this spectacular natural wall. Yes, seen from the city you have the impression of a huge green wall, all same height, which unites the northern mountains to the southern plains and divides the wide Eastern plains from these residual plains toward the western Alps.
Going up, the wall reveals the same nature and landecape as high hills and mountains: mainly forest, lakes, small villages with houses of stone.
In spite of the only 15 minutes drive from the city, I had never been to that specific restaurant before. Its name is "Il Borgo" (Burg in English and in German). I followed a car of other of us going there, or in the dark it would have not been easy to find it. It's not just a restaurant but what we call an "agri-touristic residence". An old country house renewed and transformed into restaurant/pension: with "typical" food, home cooking, horse renting ....
It was 9.30pm when I reached there, and as normally in this season it was dark as night. My 3 friends were there waiting. A married couple and a divorced lady with 2 little children. I had told them on the first days of the week about the dance dinner there, and that I was suppose to make my first solo performance there.
The inside of restaurant is accessed by a big heavy wooden door. It's small inside: some 10 tables at all 4 sides around a central area, place for 40-50 people. Floor of smooth red bricks, an happy fire in a corner, candle lights.
More than half of all the clients/audience consisted in dancers of my school (about 10), their husbands and relatives for those who have them, friends.
The place is totally held by womyn, who cook and serve their exquisite dishes. Just out of a village and surrounded by the forest.
I had brought a pair of my costumes, to have a last choice on how to dress for the performance. The dancing schedule was as following: a group of 5-6 dancers together at first, with no special costume other than a hip scarf. Myself as second, in *solo* performance. Our Algerian guest Elhadi Cheriffa as third. My teacher Faridah as fourth and last show of the evening. When the time came, after some drinks and chats, we went to change ... guess where ... in the restaurant kitchen ... can you imagine? FUN.
Yes, around the central cooking place. A small mirror was kindly set there to help Faridah and I to adjust our makeup. I decided to wear my long black fishnet dress, with a black silk undergarment to avoid total see-thru.
Faridah approved. The other choice was my fantastic Egyptian bedlah, with open slits as long as the entire leg length. But I thought the former was more appropriate to let me feel at ease for the venue. It took time to prepare ourselves and we had to care not to put clothes on some oily stuff in the kitchen. Endly we piled our clothes on a chair, left our shoes, and went out of the kitchen to the external of the place, in order to re-enter from the main door. Pretty cold but affordable.
When the dancers in group finished their piece, the announcer, same person who controlled the CD-stereo facility, said at the microphone:
"E adesso per voi ... Tanja" ("And now for you ... Tanja").
I made a fast step-chassee entrance: placing myself in the free area at the center I did two slow spins with bows and large smile on each of the 4 sides.
Some clap-clap ... some shouted "bravaaaa" ... and the music started. An Egyptian music I know very well, duration about 5 minutes (maybe even less).
I can perform all steps with minimal concentration: which means that I can allow myself to look into the audience eyes, so as to build that special interaction. All the eyes were on me. And I was not upset. My teacher, from more distance, also watched, and so did Elhadi. He btw is a gentleman somewhere between his 50s and 60s, a beautiful personality giving a sense of peace and tranquillity just at meeting his eyes. (It deserves a separate mail to say of the wonderful workshop with him and the new things I learned).
So the music went on, all sung. I did the entire piece most on balls of the feet, it included camel steps, spins, eights, butt undulations, arabesques, and flirting poses. Most layered with shimmies. I hope I kept my smile all the time but sofar I am sincerely not sure. I think I did it for the most time, as I was very happy, just shining.
I felt both interest and sympathy toward me, and again claps and brava when I ended. Now you will smile, I know, but can I say it? For those 5 minutes ... oh infinite vanity ... I felt ... a *star* :-)) A little one, but still a star.
After me it was Elhadi's turn to dance. He moves so smoothly and seems to float on the floor. And his costume was wonderful: large pants, shirt, sleeveless overshirt, turban on his head, all white and yellow colors, barefoot he too. For me it was another proof , OK I really don't need proofs so I'd better say a confirmation, of how versatile and unique ME-Dance is: suitable to any sex, any age, any body shape. A show of one's inner elegance and emotional communication skill . Language of the body and language of the soul.
Faridah, my wonderful 28yo teacher, ended the evening with a good 10-15 minutes solo, splendid costume, fishnet veil on her face.
Endly we could sit still and eat the good things too, and drink wine, and talk of interesting things. Along the dinner I shamelessly stole my teacher's place beside Elhadi for some 20 minutes and spoke French with him all the time (he lives in Lyon, France). My friends went home and I kept staying till 1am. Then I also drove home: slowly descending the Serra, among the trees and the little lakes aside, with my radio on. My head full of thoughts and longing for another ... Night of Star.

Tanja (Feb.2000)