girls in shiny
silky flowered dresses.
Almost as soon as we saw them, the caravan moved over to
the side of the road and stopped. The young men turhed to
prance toward us and two children jumped down from the
camels and proceeded to turn somersaults and cartwheels on
the road, directly in front of our oncoming car.
“Stop, Jabbar, please,” said Khadija, “so Beeja and I can
see,” and when Jabbar put on his brakes, the men snapped into
formation. The children wove, tumbling, among the oud
players, the drummers, the men with pipes and nose flutes,
occasionally even upstaging the leader, who had produced a
handful of small balls from his pocket and was now twirling
and tossing his baton and juggling the balls, all at the same
time. The camels stayed by the side of the road, but the girls
brought the donkeys round to serve as a backdrop for the
performers and musicians, and, like bareback riders in a
circus, reined in the beasts with one hand and gestured
coquettishly toward us with the other. They shouted and called
to us, but we could not understand what they were saying.
Slowly the little tableau moved toward us on the empty
road, until the gypsies were so close we could see the flashing
gold teeth of the men, their embroidered skullcaps and the
single gold earrings in their ears, the gold pendants about the
slender necks of the children. Smiling and calling to us still,
the girls turned the donkeys slowly around, jingling their gold
bracelets and switching their black abayahs like the trains of
ball dresses. I had already begun to think of the abayah as a
sheltering cloak, a symbol of modesty. It was a shock to see it
used in this way, at one moment framing the girls’ pointed
faces and tightly laced bosoms, and then flipped toward us
provocatively as they turned in time to the music.
Now the music increased its tempo, the children twisted
their narrow bodies in a frenzy of backbends and somersaults,
and to the accompaniment of a long roll on the skin drums, the
leader flung his baton high into the desert air. While it twisted
and turned in a dazzling series of circumlocutions, he deftly
juggled the balls, caught the baton, then the balls, tossed his
black head triumphantly and sank to his knees in a sweeping
bow. He landed almost directly beneath the car window, and
while we clapped, Jabbar produced some coins, and the
leader, with a brilliant smile, peered into the car where
Khadija and I sat, in our abayahs, in the back seat.
Would we like one of the girls to dance? he asked.
“Oh yes,” said Khadija, who had stared fixedly at the gypsy
girls during the entire act.
“Not today,” said Jabbar. “That’s enough.”
He waved off the leader and we drove on, while Khadija
sank back against the seat and proceeded to sulk.
“See, Khadija, they are still waving after us,” I said, looking
myself at the group which receded quickly into the distance
until finally only a few tiny sticklike figures and animals stood
on the empty road under the wide blue sky. Khadija did not
turn her head, and though even Jabbar tried to tease her, she
did not respond. We rode home in silence and spoke no more
about the caravan.
A few days later Bob reported that the gypsies had camped
again, this time near El Nahra and we had been invited to visit
them by Abdul Razzak, a friend of Jabbar’s who was
irrigation engineer in a neighboring village. Abdul Razzak
was going to take presents to one of the dancing girls, who,
Jabbar claimed, was Abdul Razzak’s mistress and very
beautiful.
Khadija did not go with us, for reasons which remained
unexplained, and I was alone with the three men. It was a cold
day, the sun darkened by a thick cloud which looked
ominously like an impending sandstorm. As we left El Nahra,
the wind whipped up the silt in clouds around us.
The dust was worse farther out, blowing so hard that we
almost passed the gypsy camp before seeing it. I had
Shayla Black and Rhyannon Byrd
Eliza March, Elizabeth Marchat