The Dance of Flames

 Introducing the Chroniclers:

Gan and Anataynus will have approached the managers of the Kantor in order to request a bit of “floor time” on a busy night – three musicians and two dancers – to provide some entertainment. On the evening of the performance, Gan will be dressed in a bright, sun-yellow tunic, cuffed with black. His pants, tucked into his utilitarian black boots, are crisp and also black. His tunic is belted with a wide dull red sash, edged in gold, and tasseled with golden monkey fists – his Sword of Mela'an will be belted on as well. Anataynus and the percussionist will both be dressed in black tunics, belted with gold sashes, and with white pants and black boots – daggers at their hips.

Anataynus, and the percussionist will set up for a jam session nearby and facing the large open, walk-in fireplace of the Kantor, and request that a bit of space be provided between them and the fire. As they gather three chairs or stools, Gan will lay out a group of silken scarves in the small cleared-out area. The colors of the scarves – mixed oranges, reds, yellows – glint in the firelight in such a way as to resemble flames themselves. In a nearby, closeted room, out of sight and hearing, Bart will be assisting both Istrid and Chlothildi in becoming the main visual entertainment: first slathering the mostly naked women with specific amounts of specially prepared oils.

Gan will begin the music with a strong rhythmic solo on his oud. After a few moments, Anataynus and the percussionist will join Gan – Anataynus providing a more intricate/delicate melody, and the percussionist picking up the beat and rhythm.

After being joined by the other two musicians, Gan will fade out, then gesture at the scarves, lazily, with an open hand, moving his hand like a conductor urging music from his troupe. At this point, the scarves will arise in the DANCE of FIRE! It will appear that Gan is somehow controlling the scarves, as they begin to “dance, sway, twist, rise, and fall”. Gan will again pick up his oud, returning to the music, beginning his song of passion and fire, while the scarves and veils continue to dance.

After the first verse and chorus, and as the music is picking up tempo, gaining in volume, the veils retreat into the walk-in fireplace of the Kantor, falling into the flames. As they burn, women will suddenly appear in the midst of the flame, observable only as flames themselves, dancing as wildly with the music as with the fire around them!

Rather quickly, the women will be engulfed in flames, and the spectators will be stunned and amazed at the sight of two goddesses of flame stepping out of the walk-in fireplace and dancing in their midst! The musicians will increase the tempo and encourage the audience to join in with clapping or stomping to the beat – urging the flaming spirits to dance more frenziedly – with ululations! The flaming, wispy, insubstantial sprites dancing around the cleared space will be seen to ripple with faint colors – green, blue, golden yellow, deep red, and purple. The herbs and spices infused into the oils will give off an intoxicating aroma – pleasant, rich, earthy – reminiscent of tsural buds, sweet spices, and aromatic waxes/resins. The words of the song speak of a burning love and desire, and the flaming sprites seem to dance and move in reaction and sympathy to the basic theme of the song. It is as if Gan's words are controlling the dance. Those who are regulars to this particular establishment, might be able to recognize either or both of the women – possibly by some quirk of their unique, individual movements, or because of their distinctive silhouettes.

The flames and music will eventually begin to fade, and the dancers' movements will become more languid and fluid – more alluring. A change in tempo and intensity of beat will be timed to coincide with how the flaming oil on the invisible women dims and sputters – not quite going out, but obviously failing. But eventually, as the flames on the invisible women do finally burn their last, and they seem to fade away into wisps of smoke, the music will become even slower and more paced. After a moment, Anataynus will be the first to drop out, then the percussionist – leaving Gan to draw the music to a close. His solo will be somber and slow – deliberate – ringing true and resolving in the sudden silence, as he delivers the final note. This entire performance – the Fire Dance – will have lasted approximately 15 minutes.

And in the silence that follows that final note, the entire audience erupts into loud cheers, bravos, whistles, claps, and stomping! Hats are escorted through the crowded drinking hall by each of the dancers, Istrid and Chlothildi, and are returned brimming over with fals, dirhams, nufdinars, and dinars … with an occasional mithqual! The crowd, visually and audibly stunned with the entire performance, clamors for more! This was amazing! A new form of entertainment! How did he control the fire?! Was it magic? Was it illusion? Was it mass hypnosis? And who are these fellows??! THE CHRONICLERS! As the noise dies down, the musicians will pick up and perform another number – a standard jaunty/raucous drinking song. This will give the women time to clean up, drop their invisibility (which had been cast/gifted by Bart), and don their normal dancing accouterments, before joining the musicians – visibly! As a final piece, the musicians will perform a lengthy, popular dance piece – one that is well liked in the great city of Cothon-Gadeed. This gives the musicians time to jam at length, while the women rove and dance, garnering more personal tips!

[written up by Phil for an institution started by Gan ad-Din, his regular character's regular henchman; thanks Dad!]