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There has long been a fixed variable at every chessboxing event that has nothing to do with chess or even with boxing: it is the mini-shows that act as a break between bouts, when the ring remains vacant.

Filling it is the task of Emanuela Suanno, a Milanese dancer and performer who has become a constant presence at every Italian chessboxing event and is at least as eagerly awaited as the evening‘s highlights.

Once again, in the ring at Riccione‘s "Play Hall," Emanuela will step into the ring bringing one of the many specialties she teaches at "Suanno Dance," the dance school that bears her name.

A Milanese dancer, teacher and performer, Emanuela began at a very young age to feel the need to move with rhythm: she began with ballet, then moved on to modern, and by the time she was 15, she was already an entertainer on the stage of several Milanese discos. Five years later, more or less, comes the night that reshuffles the cards on the table and changes everything: in a well-known Moroccan club in Milan they call her to replace a belly dancer.

It was the discovery that totally changed Emanuela‘s outlook, as she became so passionate about the subtle and ancient arts of oriental dances that she was able to teach them to others. In between, television experience in dozens of shows between Rai and Mediaset in which she is a guest: from "Ballando con le stelle" to "Pomeriggio 5," and again "Italia‘s got talent," "Caduta libera," "Il cantante mascherato," and others.

To say yes. Wanting still lacks the titles won in his career between Italian, European and world titles. I care because they cost effort, sweat and commitment, but I won everything there was to win.

I‘ll be honest: I didn‘t know what it was. It was proposed to me years ago by Volfango Rizzi, the organizer, who was then looking for something spectacular that could hold the attention of the audience during the most important matches of the evening. He wanted a female figure, but one who could bring something "strong" and at the same time elegant to the ring. From that moment, I pretty much became the "godmother," the fixture of every date.

To begin with the "belly dance," a discipline developed in Middle Eastern princely courts and made famous throughout the world for the sinuous rotating movements that originally recalled fertility cults, while at the same time expressing a strong charge of vitality and sensuality. Then the "sword dance," an acrobatic and choreographed version derived from Chinese and Vietnamese military exercises, an exercise in which I arrive to hold between body and head five swords and a knife. And again the "fireshow," the use of flames like the ancient jugglers and fire-eaters of old. I could go on with "light wings," the fire Hula Hoop and more.

I find it a crazy and fascinating discipline in which you need to dose strength and concentration in a millimeter way.

No, and I don‘t think I ever would. Certain contact sports go badly with my activity, where the face is an integral part of the show and bruising should be banned.

I‘m glad, but it‘s not a problem. What I do is universal, it doesn‘t need subtitles to be understood.