TARANPREET BARAM // DAUGHTER OF MAYA AND SANJESH BARAM // AGE: 22 // HOUSE VITELLO // TERPSICHORE // UNAFFILIATED ALLIANCE // FC: FREIDA PINTO // TAKEN
”I move, therefore I am.”
Special Titles/Ranks: N/A
Taran, the name that Taranpreet goes by so people don’t have to use her longer one, was loved by her parents when she came into the world. The three of them lived in a little town at the base of the mountains and her parents had always wanted a little girl. Things were happy for them for a while but when Taran was two years old her mother came down with consumption and died of it not too long after. It would have just been grief that bothered Taran’s father but he was also crippled — his left leg bent and hobbled — and he couldn’t take care of his young daughter they way he should have been able to. Finally admitting that he wouldn’t be able to keep her he took her to a woman who lived on the other side of the village. The woman’s name was Kay and she had been good friends with Taran’s mother so when she was asked she took Taran in without a second thought and started to raise her like she was her own daughter. As Taran grew up with Kay caring for her she was still allowed to see her father but he was re-introduced as her uncle instead.
Even when she was little Taran had a talent for dancing and she usually wasn’t seen going anywhere without twirling or swaying or moving in some joyful way. She used to drive the other villagers crazy with all her energy but she was always a sight to see when it came time for a celebration. The village musicians would play their flutes and lyres and drums and it wouldn’t be long before Taran was moving around the hall or around the bonfire in the square. She could usually get others to join her too and she was responsible for keeping spirits high if only for a second. When she was thirteen she was the cause of some unrest though and Kay was forced to take her with her on a caravan trip. Taran had always had glimpses of what she called her ‘past life’ and she made the mistake of talking about it to some of the other villagers who mistakenly took her for a witch. Taran has been on the road with Kay, who she calls Mara Kay since Mara is the word for Mother in their village, ever since and she hasn’t seen her ‘uncle’ in nine years.
The trade off though is that Taran has gotten to experience life in the open and she’s visited everywhere from the Ironmoor to Waywyn as part of Kay’s reknowned caravan. She does well with people and she can be eloquent even though she’s not keen on titles or station, plus it doesn’t hurt that she’s picked up the languages and dialects of lots of the outlying peoples. Kay has had to make sure since Taran deals with so many types of people, both the nobility and the lower class, that she’s well enough read and taught so she can hold her own and that has been a feat in itself. Taran is a tough one to get to sit still and she’s so inspired by life that all she ever wants to do is be living it. Taran also has a tough time being rooted in one place after so long on the move and that makes it hard for her to accept the fact that Kay and the caravan have seemed to settle in the Keep. Kay is older though and she can’t travel as well as she used to which means no one, especially Taran, is willing to risk making her move.
There’s some talk of having Taran take over the caravan and getting back on the move once Kay is gone but Taran hates to even think about it. She focused on her dancing and tries to work her fears out by moving to the rhythm she feels in her bones. She’s afraid to lose Mara Kay and afraid that the caravan will turn to her to be a leader when she doesn’t even know that she’s got her own life in order. Sometimes she gets the feeling that she’s searching for missing pieces of herself too and she’s scared she’ll never find them.
In Greek mythology, Terpsichore (/tərpˈsɪkəriː/; Τερψιχόρη) “delight in dancing” was one of the nine Muses and goddess of dance and chorus.[1] She lends her name to the word “terpsichorean” which means “of or relating to dance”. She is usually depicted sitting down, holding a lyre, accompanying the ballerinas’ choirs with her music.
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