In Altai (2009), the last book of Wu Ming, one of the more rarefied is given the dance of the Indian warrior Mukhtar, which takes place on the boat that brought her, along with his comrades and the main character, Manuel Cardoso, in search of pirate Mimi Reis. Mukhtar, Hafiz and his twin brother, are faithful companions of the old Ismail, who delivered them from slavery. Below is a description of the dance made in terms of Cardoso:
The woman drew a gesture with a white geometric figure on the boards of the bridge, then at the feet of some lines and began to move in a dance seemed to simulate a fight. His body seemed to belong to a reptile, or a lynx. I had seen great wrestlers and fencers find arms , Ie the train and took shots at bare hand, and although the girl's movements were much more graceful and less direct, the members seemed to contain a force similar to that of a compressed spring, ready to shoot (pp. 223-224).
As you can see, the dance is similar to a fight, a bit 'like Brazilian capoeira, and the body of the warrior, even when compared to two animals, it is reified nor is it an object of desire. This is not a secondary element, since the association-woman dance usually ends in a dance of seduction. Especially if we talk about India, a culture far from Europe and perceived as exotic. Wu Ming I opt instead for a sacred dance closely related to the formation of warrior Mukhtar. His friend Ali told Cardoso: "You see the signs that drew on the floor? In their own language, called Kalam, is used to make precise distance and angles of attack and effective defense. In the language of the Book, Kalam does the word of God "(p. 224).
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