I went to the Christmas show at Radio City last night. It was truly spectacular. But toward the end, an elaborate manger set (with a real camel!) uprooted some surprisingly vivid memories of the last time I had been subjected to a nativity scene of that scale.
I don’t remember most of the song lyrics, or the sermons. I don’t remember how my mom was first roped into the five-year stint that became known as her “born-again phase,” or by whom. I may have been away at summer camp. I can’t explain how the “ministry” went from three families and their neighbors praying together in a middle school gym to a 700-member congregation housed in a shiny new Taj Mahal out on Route 27.
But I remember the dancing. I remember being the chubby, buck-toothed newcomer to the group of half a dozen girls whose parents founded the church. The singing, the dancing, the chaos—it wasn’t anything like the orderly mass I experienced every Wednesday afternoon at my Catholic middle school. It felt awkward, forced, even shameful to hold the hands of those haughty girls and dance in a circle to the clamor of tambourines and guitars. And what was my mother doing, exactly, by raising her hands above her head and shouting right along with those wackos? Evidently, the embarrassment made a deep impression on my 10-year-old psyche, as now the mere memory triggers an uncomfortable heat to rise in my cheeks.
But then I think of Fauline’s dance, and I laugh. Its intricacies were studied methodically by my younger sister, Charlotte, whose innate flair for accents evolved into a cruel habit of impersonating every adult she encountered while growing up. To this day, some 10 or 12 years since she last laid eyes on Fauline, Char can exactly imitate the worship dance of that frumpy, overweight woman who always sat in front of us.
“It’s all in that quick hip swing,” Charlotte explained to me once, while repeating the motion and trying to keep a straight face. In sync with every beat, Fauline could rotate her rotund backside from with the precision and thrust of an electric mixer. Then there was her snap—the forceful flick of the wrist that switched from one hand to the other in perfect complement to those rhythmic hips. But the hysterical part, at least for the two sisters mocking her from behind, was the absolute passion with which Fauline lost herself in the music. Her eyes were closed contentedly, while her head nodded and voice proclaimed: “Hallelujah! Praise the Lord! Thank you Jesus!”