Had a great night at a burlesque version of Marta Adamowicz’s A Little Bit of Theatre tonight. Top wordsmith was my pal Alex Cox, who’s becoming a regular with his in-yer-face and laugh-out-loud monologues. He really is becoming a brilliant literary voice; highly productive and benefitting from his involvement in theatre workshops, he’s at the top of his performing game. A real stand out – as is, apparently, Ronald Reagan’s penis.
For myself, I read “Business”. It’s from Occasional Demons, and is a darkly comic Poe-inspired tale of antiques and murder. There are two versions of it: in the collection, it’s unpunctuated, and needs to be a helter-skelter rant of wild paranoia. However, it was previously published in Something Wicked, an anthology of Scottish crime fiction, and the editors had wanted a punctuated version. It’s that I do tonight, and it really helps hold the pace, allowing me to play the jokes a bit more. Love it when an audience laughs nervously as the narrator goes to fetch a hammer…
The burlesque is huge fun. Lily Minogue does a fantastic Priscilla, Queen of the Desert act, including a rip-snorting mime of Fascinating Aida’s scandalous song “Dogging“. Star of the naughty bits, though, is Raven Rose, a deliciously lovely young woman who is well on the way to perfecting the art with real charm and wit and grace. Very sweet and very sexy.
No chance following that…
Kapka Kassabova is a colleague of mine, though there’s no reason why she should know it. We both work at the University of Strathclyde, she in English and me in Education. However, when Jordanhill dies its sorry death in July 2012 and we all troop down to the main campus in the city centre, perhaps our paths will cross: I hope so, because I’d like to learn to write half as beautifully as she does.
I have just started reading her memoir “Twelve Minutes of Love”, a gloriously sensual account of her ten year love affair with the Argentine tango (“the only tango”, she writes). It’s a stunning read, full of esoteric detail of the dance’s history, its music, its steps, its etiquette. More than that, though, it is a subtle but nevertheless forensically honest account of her soul. In throwaway lines, she hints at the uncomfortable “longing” which permeates her life as well as the ethos of the dance: “Our faces were very suddenly close,” she writes, “which was a bit disturbing, but not as disturbing as the sudden closeness of our bodies. I could feel his body heat. It had been some time since I’d last felt the heat of a man’s body.”
She speaks a great deal of this intimacy which is at the same time fulfilling and disturbing, joyous and sad. It’s an intimacy that has its own climax, the “tangasm” of total abandonment and oneness that two partners experience when they achieve that ineffable euphoria of “clarity of mind and crispness of step in the declining afternoon of San Telmo.”
I have brought my sister along as a birthday outing. She is addicted to dancing, there is no other word for it. In the last decade or so, she seems to have been brought to a new life through the tango, ballroom, jive (of so many kinds), salsa, Lindy Hop (the sound of which always makes me smile), LeRoc. She recognises much of what Kassabova talks about: of the “virtual nation” that is tango dancing; of living a life based around where and when the next dance is; of the all-consuming need to find a partner, any partner, for that twelve minutes of love. What she doesn’t comprehend, though, is Kassabova’s revelation that she doesn’t dance much any more; like an addict, she had to go cold turkey. That suggests the book will have a lot to reveal about tango’s emotional cost.
Jeff and Sari of the Dance House give a tango demonstration which is, of course, smooth and sensuous and playful and beautiful. What strikes me is the intricacy of the wordless conversation that is obviously going on because of the way in which she seems to know exactly what he wants her to do at any given moment. The steps, the leans, the drags are all executed with an apparent effortlessness that can only come though a level of communication through weight and balance and inclination and the slightest of pressures that seems like telepathy.
A thought occurs to me. Kassabova is very sweet and charming. She listens to people intently, smiling and nodding, and, unlike many authors, makes sure she answers the questions asked of her in the way the questioner demands, not the way she wants; she is more than happy to respond to someone else’s agenda rather than impose her own. It’s impossible not to warm to her.
I wonder if this is a product of tango, of having to read partners so intently, of being serially compliant on the dance floor? Does tango make you a good listener, or do you need to be a good listener to appreciate tango?
Jeff and Sari make me gasp and smile and laugh; my sister, for the umpteenth time, asks me if I fancy learning to dance for myself. No. I am not a dancer. I have a body built for the clumsy scrum of ceilidhs. My sister is the dancer. I write. Kassabova can do both.
More than that, though, is that the beauty of the dance is something I want to admire, and that beauty is not going to be heightened by me stumbling and fumbling my way to some sort of proficiency. I love Portuguese fado, which, like Tango, has been pompously declared a UNESCO Intangible Cultural Heritage of Humanity; but the beauty of the fado is not going to be radically changed by my learning Portuguese or, God forbid, by my taking singing lessons. So let Jeff and Sari and Kapka and my sister get on with it, and I’ll admire from afar.
But Kassabova’s honesty also has me thinking that perhaps the reality is that I have problems with intimacy, I like my space to be private (very West of Scotland); Kassabova notes absolutely truly that in the West we connect with each others’ bodies through sex, nothing else. Perhaps, deep down, the reality is that I see the dance not as an abandonment but as a terrible responsibility to that fleeting partner whose body heat excites and disturbs us.
Perhaps I’m just a bloke with issues.