The Greatest Works of George Orwell. George Orwell

Kyin clapped his hands sharply, ‘Hey kaung galay!’ he called to a boy beside him. He gave some instructions in Burmese, and the boy pushed his way to the edge of the stage.

      ‘He’s telling them to bring on their best dancer in our honour,’ Flory said. ‘Look, here she comes.’

      A girl who had been squatting at the back of the stage, smoking, stepped forward into the lamplight. She was very young, slim-shouldered, breastless, dressed in a pale blue satin longyi that hid her feet. The skirts of her ingyi curved outwards above her hips in little panniers, according to the ancient Burmese fashion. They were like the petals of a downward-pointing flower. She threw her cigar languidly to one of the men in the orchestra, and then, holding out one slender arm, writhed it as though to shake the muscles loose.

      The orchestra burst into a sudden loud squalling. There were pipes like bagpipes, a strange instrument consisting of plaques of bamboo which a man struck with a little hammer, and in the middle there was a man surrounded by twelve tall drums of different sizes. He reached rapidly from one to another, thumping them with the heel of his hand. In a moment the girl began to dance. But at first it was not a dance, it was a rhythmic nodding, posturing and twisting of the elbows, like the movements of one of those jointed wooden figures on an old-fashioned roundabout. The way her neck and elbows rotated was precisely like a jointed doll, and yet incredibly sinuous. Her hands, twisting like snakeheads with the fingers close together, could lie back until they were almost along her forearms. By degrees her movements quickened. She began to leap from side to side, flinging herself down in a kind of curtsy and springing up again with extraordinary agility, in spite of the long longyi that imprisoned her feet. Then she danced in a grotesque posture as though sitting down, knees bent, body leaned forward, with her arms extended and writhing, her head also moving to the beat of the drums. The music quickened to a climax. The girl rose upright and whirled round as swiftly as a top, the panniers of her ingyi flying out about her like the petals of a snowdrop. Then the music stopped as abruptly as it had begun, and the girl sank again into a curtsy, amid raucous shouting from the audience.

      Elizabeth watched the dance with a mixture of amazement, boredom and something approaching horror. She had sipped her drink and found that it tasted like hair oil. On a mat by her feet three Burmese girls lay fast asleep with their heads on the same pillow, their small oval faces side by side like the faces of kittens. Under cover of the music Flory was speaking in a low voice into Elizabeth’s ear, commenting on the dance.

      ‘I knew this would interest you; that’s why I brought you here. You’ve read books and been in civilised places, you’re not like the rest of us miserable savages here. Don’t you think this is worth watching, in its queer way? Just look at that girl’s movements—look at that strange, bent-forward pose like a marionette, and the way her arms twist from the elbow like a cobra rising to strike. It’s grotesque, it’s even ugly, with a sort of wilful ugliness. And there’s something sinister in it too. There’s a touch of the diabolical in all Mongols. And yet when you look closely, what art, what centuries of culture you can see behind it! Every movement that girl makes has been studied and handed down through innumerable generations. Whenever you look closely at the art of these Eastern peoples you can see that—a civilisation stretching back and back, practically the same, into times when we were dressed in woad. In some way that I can’t define to you, the whole life and spirit of Burma is summed up in the way that girl twists her arms. When you see her you can see the rice-fields, the villages under the teak trees, the pagodas, the priests in their yellow robes, the buffaloes swimming the rivers in the early morning, Thibaw’s palace——’

      His voice stopped abruptly as the music stopped. There were certain things, and a pwe-dance was one of them, that pricked him to talk discursively and incautiously; but now he realised that he had only been talking like a character in a novel, and not a very good novel. He looked away. Elizabeth had listened to him with a chill of discomfort. What was the man talking about? was her first thought. Moreover, she had caught the hated word Art more than once. For the first time she remembered that Flory was a total stranger and that it had been unwise to come out with him alone. She looked round her, at the sea of dark faces and the lurid glare of the lamps; the strangeness of the scene almost frightened her. What was she doing in this place? Surely it was not right to be sitting among the black people like this, almost touching them, in the scent of their garlic and their sweat? Why was she not back at the Club with the other white people? Why had he brought her here, among this horde of natives, to watch this hideous and savage spectacle?

      The music struck up, and the pwe-girl began dancing again. Her face was powdered so thickly that it gleamed in the lamplight like a chalk mask with live eyes behind it. With that dead-white oval face and those wooden gestures she was monstrous, like a demon. The music changed its tempo, and the girl began to sing in a brassy voice. It was a song with a swift trochaic rhythm, gay yet fierce. The crowd took it up, a hundred voices chanting the harsh syllables in unison. Still in that strange bent posture the girl turned round and danced with her buttocks protruded towards the audience. Her silk longyi gleamed like metal. With hands and elbows still rotating she wagged her posterior from side to side. Then—astonishing feat, quite visible through the longyi—she began to wriggle her two buttocks independently in time with the music.

      There was a shout of applause from the audience. The three girls asleep on the mat woke up at the same moment and began clapping their hands wildly. A clerk shouted nasally ‘Bravo! Bravo!’ in English for the Europeans’ benefit. But U Po Kyin frowned and waved his hand. He knew all about European women. Elizabeth, however, had already stood up.

      ‘I’m going. It’s time we were back,’ she said abruptly. She was looking away, but Flory could see that her face was pink.

      He stood up beside her, dismayed. ‘But, I say! Couldn’t you stay a few minutes longer? I know it’s late, but—they brought this girl on two hours before she was due, in our honour. Just a few minutes?’

      ‘I can’t help it, I ought to have been back ages ago. I don’t know what my uncle and aunt will be thinking.’

      She began at once to pick her way through the crowd, and he followed her, with not even time to thank the pwe-people for their trouble. The Burmans made way with a sulky air. How like these English people, to upset everything by sending for the best dancer and then go away almost before she had started! There was a fearful row as soon as Flory and Elizabeth had gone, the pwe-girl refusing to go on with her dance and the audience demanding that she should continue. However, peace was restored when two clowns hurried onto the stage and began letting off crackers and making obscene jokes.

      Flory followed the girl abjectly up the road. She was walking quickly, her head turned away, and for some moments she would not speak. What a thing to happen, when they had been getting on so well together! He kept trying to apologise.

      ‘I’m so sorry! I’d no idea you’d mind—’

      ‘It’s nothing. What is there to be sorry about? I only said it was time to go back, that’s all.’

      ‘I ought to have thought. One gets not to notice that kind of thing in this country. These people’s sense of decency isn’t the same as ours—it’s stricter in some ways—but——’

      ‘It’s not that! It’s not that!’ she exclaimed quite angrily.

      He saw that he was only making it worse. They walked on in silence, he behind. He was miserable. What a bloody fool he had been! And yet all the while he had no inkling of the real reason why she was angry with him. It was not the pwe-girl’s behaviour, in itself, that had offended her; it had only brought things to a head. But the whole expedition—the very notion of wanting to rub shoulders with all those smelly natives—had impressed her badly. She was perfectly certain that that was not how white men ought to behave. And that extraordinary rambling speech that he had begun, with all those long words—almost, she thought bitterly, as though he were quoting poetry! It was how those beastly artists that you met sometimes in Paris used to talk. She had thought him a manly man till this evening. Then her mind went back to the morning’s adventure, and how he had faced the buffalo barehanded, and some of her anger evaporated. By the time they reached the Club gate she felt inclined to forgive him. Flory had by