A Dance Of Fire And Ice

Fire performance is a group of performance arts or skills that involve the manipulation of fire. Fire performance typically involves equipment or other objects made with one or more wicks which are designed to sustain a large enough flame to create a visual effect.

Fire performance includes skills based on juggling, baton twirling, poi spinning, and other forms of object manipulation. It also includes skills such as fire breathing, fire eating, and body burning; sometimes called fakir skills. Fire performance has various styles of performance including fire dancing; the use of fire as a finale in an otherwise non-fire performance; and the use of fire skills as 'dangerous' stunts. Performances can be done as choreographed routines to music (this type being related to dance or rhythmic gymnastics); as freestyle (performed to music or not) performances; or performed with vocal interaction with the audience. Some aspect of fire performance can be found in a wide variety of cultural traditions and rituals from around the world.

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One of the earliest mentions of fire performance was at the ceremony of Simchat Beit HaShoeivah during the holidays of sukkot of the Second Temple by the Jews in Jerusalem Circa 10AD - 70AD. It has been said about Rabbi Simeon ben Gamaliel that when he was rejoicing with the joy of the Water-Drawing he would take eight burning torches in one hand and toss them upwards; he tossed one and caught one, and never did one touch the other.[1]

Ancient Aztecs performed a fire dance dedicated to Xiuhtecuhtli, the god of fire.[2] The Aztec fire dance is performed today for tourists in Mexico. In Bali, the Angel Dance and the Fire Dance, regularly performed for tourists, have origins in ancient rituals. Both the Angel Dance and the Fire Dance originated in a trance ritual called the sanghyang, a ritual dance "performed to ward off witches at the time of an epidemic."[3] Also known as the "horse dance" men perform the dance by holding rods representing horses, while leaping around burning coconut husks, and walking through the flames. Jamaica, French Polynesia, Antigua, Cuba and Saint Lucia are other locations where fire dances are recreated for tourists. The Siddha Jats of the Thar Desert in India perform traditional fire dances as part of the Spring festival. Fire dancing is performed to music played on drums and the behr. There are variations of the fire dancing; men often perform a dance that involves walking on hot coals. A large fire is created and allowed to burn down until it is a pit of glowing embers. The performers then jump in and out of the pit kicking up the embers to create showers of sparks while women perform a dance while balancing flaming tin pots on their heads. Today this ritual is often performed for tourists.

Another form of fire dancing comes from the people of Polynesia. It is believed that the Maori people of New Zealand would soak a ball attached to string in fuel, light it and perform dancing rituals. "Poi" is a Maori word meaning ball on a string" making the Maori people the originators of the flow equipment still popular today.[4] See Poi (performance art).

Since the mid-1990s, fire performance has grown in popularity.[citation needed] This growth has occurred both for hobby and professional practitioners. Fire skills are performed at raves, nightclubs, beach parties, and music festivals. One such festival that is especially popular with fire performers is Burning Man. Fire performance has become increasingly popular as entertainment at corporate events, street festivals, celebration events and as a precursor to firework displays.

Fire performance is usually performed with props that have specifically been made for the purpose. Fire torches, fire staffs, fire poi, fire hula hoops, fire whips, and other fire props are all readily available.

Nearly all modern fire performance apparatus rely on a liquid fuel soaked in the wick. There are many choices for fuels, which differ in their specific properties. Fire performers select a fuel or a blend of fuels based on safety, cost, availability, and the desirability of various characteristics of the fuel including for example, the colour of flame, and flame temperature. There is also some geographic variance in fuels used, due local availability and price. Some American fire performers use white gas although most use other fuels due to its low flash point, while British fire performers use paraffin (called kerosene in the US) or the white gas substitute petroleum naphtha.

Fire performance skills are inherently dangerous and only careful use of the props, storage of the fuel and performance in appropriate spaces will mean that the risks are minimised. Fire insurance policies all require fire performers to carry fire extinguishers, fire blankets or other fire safety equipment.

There are organized events in various parts of the world teaching fire arts and object manipulation. These events which can be fire festivals or workshops at juggling or music festivals are popular in US, Canada, United Kingdom and Australia.[6]

I recently read the "A dance in fire" book series. It was a pretty good and funny (at times) story and I liked it very much. It reminded me about the beginning of the anime "black lagoon" where a clerk from japan gets into a life of sort of pirates and other adventures.

It was a complete loss. The Cathay-Raht had stolen or destroyed almost every item of value in the caravan in just a few minutes' time. Decumus Scotti's wagonload of wood he had hoped to trade with the Bosmer had been set on fire and then toppled off the bluff. His clothing and contracts were tattered and ground into the mud of dirt mixed with spilt wine. All the pilgrims, merchants, and adventurers in the group moaned and wept as they gathered the remnants of their belongings by the rising sun of the dawn.

The next morning, still asleep, Scotti had the sensation of someone kissing him. He made a face to return the favor, but a pain like fire spread through his chest and forced him to open his eyes. There was an insect the size of a large calf sitting on him, crushing him, its spiky legs holding him down while a central spiral-bladed vortex of a mouth tore through his shirt. He screamed and thrashed but the beast was too strong. It had found its meal and it was going to finish it.

Scotti followed that advice. After an hour, when he no longer heard arrows being fired, he threw aside the remains of the bug and leapt as quickly as he could to a stand. It was not a moment too soon. A gang of eight archers had their bows pointing his direction, ready to fire. When they saw him, they laughed.

Anyone who has had the experience of giving rational advice to a drunkard would understand the hopelessness. Scotti kept pace with the captain, slowing himself, quickening, drifting left and right, while the Bosmer moaned old ditties from his pirate days. When he wasn't watching his companion, he watched the cats on the shore. After a stretch, he turned to his right. Another village had caught fire. Undoubtedly, it was Grenos. Scotti stared at the blazing fury, awed by the sight of the destruction, and did not hear that the captain had ceased to sing.

He was spared the decision. Ahead of him was a rocky island with a bonfire. He did not know if he were intruding on a party of Bosmeri or Khajiiti, only that he could swim no more. With straining, aching muscles, he pulled himself onto the rocks.

"I don't know your friend, but there were many Cyrodiils in Athay when the fire came," said the girl. "Some of them, I think, left quickly. They were going to Vindisi, inland, in the jungle. I am going there tomorrow, so are many of us. If you wish, you may come as well."

They were five Cyrodiils, two Bretons, and a Nord, the group gathered around a campfire of glowing white stones, pulling steaming strips of meat from the cadaver of a great stag. At Scotti's approach, they rose up, all but the Nord who was distracted by his hunk of animal flesh.

"They're congenital thieves, even worse than the Khajiiti because they are so blessed meek in their aggression," the Nord spat out a gob of fat which sizzled on the hot stones of the fire. "They spread their forests into territory that doesn't belong to them, slowly infiltrating their neighbors, and they're puzzled when Elsweyr shoves back at them. They're all villains of the worst order."

"Not unless they're traveling through the trees now," whispered the wizard. The Nord and one of the Cyrodiils grabbed a long tarp of wet leather and pulled it across the fire, instantly extinguishing it without so much as a sizzle. Now Scotti could see the intruders, their elliptical yellow eyes and long cruel blades catching the torchlight. He froze with fear, praying that he too was not so visible to them.

Scotti grabbed hold of the knotted double-vine that hung down from a tall tree at the edge of the dead campfire. He scrambled up it as quickly as he could, holding his breath lest any grunt of exertion escape him. At the top of the vine, high above the village, was an abandoned nest from some great bird in a trident-shaped branch. As soon as Scotti had pulled himself into the soft, fragrant straw, Reglius pulled up the vine. No one else was there, and when Scotti looked down, he could see no one below. No one, that is except the Khajiiti, slowly moving toward the glow of the temple tree.

"Reglius. Reglius. Reglius," Scotti did not dare to call out. In a minute, there was a shaking of branches, and Lord Vanech's man emerged. First his satchel, then his head, then the rest of him. Scotti started to whisper something, but Reglius shook his head violently and pointed downward. One of the Khajiiti was at the base of the tree, peering at the remains of the campfire.

In frustration born of hunger and exhaustion, he struck the tree trunk. A sudden shiver of gold and red erupted from a hollow nook above, and Scotti was surrounded by six winged creatures scarcely more than a few inches long. Bright crimson eyes were set on either side of tunnel-like protuberances, the animals' always open mouths. They were legless, and their thin, rapidly beating, aureate wings seemed poorly constructed to transport their fat, swollen bellies. And yet, they darted through the air like sparks from a fire. Whirling about the poor clerk, they began chattering what he now understood to be perfect nonsense. 2351a5e196