Carpet Wars Part III: Berber Strikes Back
posted in performance on may 17th, 2009
As we’re all painfully aware, while sequels can sometimes be good, "Parts III" are generally little short of outstandingly bad (with the exception of Indiana Jones—and who would have guessed that?). This said, it is with anxious dread that I plunge our fun-loving little blog here into that murky abyss of sequels to sequels. But what is to be done? Another blow has been struck in what can now only be called "The Carpet Wars" and it must be documented.
I can’t help but feel, in some senses, personally responsible. Was I flip in my last post? Did I unjustly rub the anthropomorphological nose of "carpet" in what I perceived to be its defeat? Or maybe I just underestimated the tenacity of this formidable foe. In any case, you have by now, I’m sure, guessed what I’m getting at: last Saturday’s gig at the University of Washington Bothell featured: a carpeted stage. And Zamani Flamenco’s portable dance platform (much to my smug little chagrin) was: left at the studio.
How could I have made such an error, you ask? Aside from the multiple assurances I had from the (again, very nice) organizer that the stage would be, "yes, wood," and "no, definitely not carpeted"? Well, I don’t know. I guess I just let my guard down for a minute (which, evidently, when you’re toe-to-toe with carpet is all it takes).
In addition to the above unconditional assurances, part of the rationale for not dragging our dance platform along was rooted in the fact that this was a thirty minute set, not an hour long set or a whole show (i.e. two sets). Furthermore, since we were one act among several, setup and tear down would have slowed down the whole program. My thinking was, even if there is carpet, we would survive.
And survive we did.
And the show was still a success. The footwork, of course, was in more of the "thudding boom" range than the "sharp crack" range, but the dancers still looked the way they were supposed to and the sound was—if at times a bit intermittent—otherwise good. We also had Erin Lau helping us out on vocals, which made for a great addition to the set in general.
So what have I learned from this latest skirmish with the floor-dressing fiend? I guess time will tell. A reasonable man would never again leave home without "the platforms," but I seem to be a bit slow on the uptake these days, so we’ll have to see.
All I can say for sure right now is that I hope not to have to write a "Part IV" of this saga—those are never good!
Now go play!