DOCSLIB.ORG

Belly Dancing in New Zealand

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Belly Dancing in New Zealand BELLY DANCING IN NEW ZEALAND: IDENTITY, HYBRIDITY, TRANSCULTURE A thesis submitted in partial fulfilment of the requirements for the Degree of Master of Arts in Cultural Studies in the University of Canterbury by Brigid Kelly 2008 Abstract This thesis explores ways in which some New Zealanders draw on and negotiate both belly dancing and local cultural norms to construct multiple local and global identities. Drawing upon discourse analysis, post-structuralist and post-colonial theory, it argues that belly dancing outside its cultures of origin has become globalised, with its own synthetic culture arising from complex networks of activities, objects and texts focused around the act of belly dancing. This is demonstrated through analysis of New Zealand newspaper accounts, interviews, focus group discussion, the Oasis Dance Camp belly dance event in Tongariro and the work of fusion belly dance troupe Kiwi Iwi in Christchurch. Bringing New Zealand into the field of belly dance study can offer deeper insights into the processes of globalisation and hybridity, and offers possibilities for examination of the variety of ways in which belly dance is practiced around the world. The thesis fills a gap in the literature about ‘Western’ understandings and uses of the dance, which has thus far heavily emphasised the United States and notions of performing as an ‘exotic Other’. It also shifts away from a sole focus on representation to analyse participants’ experiences of belly dance as dance, rather than only as performative play. The talk of the belly dancers involved in this research demonstrates the complex and contradictory ways in which they articulate ideas about New Zealand identities and cultural conventions. Some of their reflections on belly dancing appear to reflect consciousness of and dis-ease around issues of indigeneity and multiculturalism in wider New Zealand society. Participants in this study also talk about how they explore and perform ideas about femininity, which includes both acceptance and rejection of belly dancing as innately feminine. Looking at New Zealand identities through belly dance, and vice-versa, highlights developing, nuanced and multiple articulations of self and other in a globalised world. i ii Acknowledgements Firstly I would like to thank my supervisors, Rosemary Du Plessis and Nabila Jaber, whose ideas, critiques, suggestions and support have made researching and writing this thesis a challenging, rich and very satisfying endeavour. In particular, I wish to acknowledge Nabila’s insights into belly dancing’s Middle Eastern cultural contexts and the underplayed role of migrants in disseminating the dance internationally, and Rosemary’s help in connecting the specificities of this topic to much larger social and theoretical concerns. I would like to thank my friends and colleagues at the School of Contemporary Belly Dance, who both supported my research and covered for me when I have been less able to carry out my usual teacher’s tasks. Special thanks are due to Judith Varga and Anne Kalnins for their provision of additional local research materials, to Yurie Matsui Somerville for Japanese translation, to Auckland City Libraries Special Collections for permission to reprint photographs, and to the University of Canterbury Scholarships Programme for financial assistance. I would especially like to thank my teacher, Gendi Tanner Te Keepa, for introducing me to belly dance, inspiring, encouraging and challenging me, and my parents and brothers for supporting my choice to undertake this demanding project. I am particularly grateful to the academic and general staff of the University of Canterbury School of Sociology and Anthropology, not only for use of the school’s graduate facilities, but for welcoming me, a Cultural Studies student, into the department. My fellow students, especially Annette Wilkes, Aline Taylor, Elaine Donovan, Roslyn Kerr, Rebecca Ream, Rochelle Bailey, Wan Munira Wan Jaafar, Lydia Yu, Angel Bright, Anna-Maria Covich, Brenda Mackie, Jo Tondo, Deborah Rhode, Lois Tonkin, Karen Due Theilade, Benjamin Lindt, Hazel Ashton and the late Steve Luke, have provided endless insights and new ideas. Their willingness to discuss and share their own research projects and observations was invaluable. Finally, to all the people who willingly became participants in this project, and the dancers, past and present, in countries all around the world but especially in New Zealand, whose ideas and opinions have informed the ideas in it: shukran, kia ora koutou, thank you! iii iv Table of Contents Abstract ..................................................................................................................................................... i Acknowledgements ................................................................................................................................. iii Dancing on grass at the Brookland's Gala: a preamble ..................................................................... 1 Glossary of terms .................................................................................................................................... 4 CHAPTER ONE Introduction ............................................................................................................................................ 7 Defining the field: fantasy, the Orient and the body ..................................................................... 9 Moving towards a globalised model of belly dance .................................................................... 13 Belly dance as globalised practice ............................................................................................... 16 Global identities ........................................................................................................................... 21 CHAPTER TWO "When you first start it's real hard work": participants, rationales and strategies ................... 24 Overview ....................................................................................................................................... 27 Insider-outsider status and issues of anonymity .......................................................................... 29 Preliminary data, formulation of questions and participant selection ....................................... 30 Talking belly dance: the interviews ............................................................................................. 35 Globalised belly dance: Oasis Dance Camp ............................................................................... 38 Embodied responses: focus group/personal dance analysis ....................................................... 39 Analytic process ............................................................................................................................ 40 Conclusions................................................................................................................................... 41 CHAPTER THREE: "What lies under what is, is what was once": the development of a New Zealand belly dance culture ................................................................................................................................ 43 Oasis Dance Camp: globalised belly dance in action ................................................................. 44 Priestesses, gypsies and mothers: belly dance as women's culture ............................................ 45 Contextualising New Zealand belly dance: a partial history ...................................................... 48 Before belly dance: the exotic in New Zealand and beyond .................................................. 49 Contemporary belly dance begins: Egypt and the United States .......................................... 51 Belly dance in New Zealand ................................................................................................... 54 New Zealand in the global belly dance world ........................................................................ 60 Conclusion .................................................................................................................................... 62 CHAPTER FOUR "It's almost like, you knew you could dance like that but you're not really allowed to in Western society": dancing bodies, self-image and identity in New Zealand belly dance ............. 63 Feminine selves ............................................................................................................................. 64 Exotic bodies ................................................................................................................................. 67 The re-imagined harem, nourishment and care of the self .......................................................... 70 Sensual dancing bodies ................................................................................................................ 73 Signifying bodies........................................................................................................................... 78 Harem, revisited ........................................................................................................................... 79 CHAPTER FIVE "I mean, what is a Pakeha New Zealander's national dance? We don't have one": belly dance and transculturation ............................................................................................................................. 84 Belly dance: a New Zealand thing? ............................................................................................
Load more

Recommended publications
  • “Al-Tally” Ascension Journey from an Egyptian Folk Art to International Fashion Trend
    مجمة العمارة والفنون العدد العاشر “Al-tally” ascension journey from an Egyptian folk art to international fashion trend Dr. Noha Fawzy Abdel Wahab Lecturer at fashion department -The Higher Institute of Applied Arts Introduction: Tally is a netting fabric embroidered with metal. The embroidery is done by threading wide needles with flat strips of metal about 1/8” wide. The metal may be nickel silver, copper or brass. The netting is made of cotton or linen. The fabric is also called tulle-bi-telli. The patterns formed by this metal embroidery include geometric figures as well as plants, birds, people and camels. Tally has been made in the Asyut region of Upper Egypt since the late 19th century, although the concept of metal embroidery dates to ancient Egypt, as well as other areas of the Middle East, Asia, India and Europe. A very sheer fabric is shown in Ancient Egyptian tomb paintings. The fabric was first imported to the U.S. for the 1893 Chicago. The geometric motifs were well suited to the Art Deco style of the time. Tally is generally black, white or ecru. It is found most often in the form of a shawl, but also seen in small squares, large pieces used as bed canopies and even traditional Egyptian dresses. Tally shawls were made into garments by purchasers, particularly during the 1920s. ملخص البحث: التمي ىو نوع من انواع االتطريز عمى اقمشة منسوجة ويتم ىذا النوع من التطريز عن طريق لضم ابر عريضة بخيوط معدنية مسطحة بسمك 1/8" تصنع ىذه الخيوط من النيكل او الفضة او النحاس.واﻻقمشة المستخدمة في صناعة التمي تكون مصنوعة اما من القطن او الكتان.
    [Show full text]
  • Feminist Analysis of Belly Dance and Its Portrayal in the Media
    FEMINISM IN BELLY DANCE AND ITS PORTRAYAL IN THE MEDIA Meghana B.S Registered Number 1324038 A dissertation submitted in partial fulfillment of the requirements for the degree of Master of Science in Communication Christ University Bengaluru 2015 Program Authorized to Offer Degree Department of Media Studies ii Authorship Christ University Department of Media Studies Declaration This is to certify that I have examined this copy of a master‟s thesis by Meghana B.S Registered Number1324038 and have found that it is complete and satisfactory in all respects, and that any and all revisions required by the final examining committee have been made. Committee Members: _____________________________________________________ _____________________________________________________ Date:__________________________________ iii iv Abstract I, Meghana B.S, confirm that this dissertation and the work presented in it are original. 1. Where I have consulted the published work of others this is always clearly attributed. 2. Where I have quoted from the work of others the source is always given. With the exception of such quotations this dissertation is entirely my own work. 3. I have acknowledged all main sources of help. 4. If my research follows on from previous work or is part of a larger collaborative research project I have made clear exactly what was done by others and what I have contributed myself. 5. I am aware and accept the penalties associated with plagiarism. Date: Signature v vi Abstract Feminism in Bellydance and its portrayal in the media Meghana B.S MS in Communication, Christ University, Bengaluru Bellydance is an art form that has gained tremendous popularity in the world today.
    [Show full text]
  • Corpo Hibrido: Raízes, Modernidade E Fusão No Corpo Da(O) Dançarina(O) De Tribal
    UNIVERSIDADE FEDERAL DE UBERLÂNDIA – UFU INSTITUTO DE ARTES – IARTE CURSO DE GRADUAÇÃO EM DANÇA THÁSSIA CAMILA DE ALMEIDA SOARES CORPO HIBRIDO: RAÍZES, MODERNIDADE E FUSÃO NO CORPO DA(O) DANÇARINA(O) DE TRIBAL Uberlândia/MG Dezembro de 2019 UNIVERSIDADE FEDERAL DE UBERLÂNDIA – UFU INSTITUTO DE ARTES – IARTE CURSO DE GRADUAÇÃO EM DANÇA THÁSSIA CAMILA DE ALMEIDA SOARES CORPO HIBRIDO: RAÍZES, MODERNIDADE E FUSÃO NO CORPO DA(O) DANÇARINA (O) DE TRIBAL Trabalho de Conclusão de Curso apresentado como requisito para avaliação na disciplina Defesa de Trabalho de Conclusão de Curso, do Curso de Dança da Universidade Federal de Uberlândia – UFU. Orientador: Prof. Dr. Jarbas Siqueira Ramos Uberlândia/MG Dezembro de 2019 Dedico esse trabalho a minha mãe Dinamar de Almeida que com todo o amor e dedicação esteve presente em momentos relevantes durante a conclusão do meu curso. Ao meu tio Pe. Itamar de Almeida Machado a minha irmã Tatiana e irmão William. AGRADECIMENTOS Sou grata pela minha formação religiosa, pois, minha fé sempre foi o suporte para continuar perseverante e confiante durante minha trajetória acadêmica. Sou grata a minha família por sempre me apoiar, confiar e acreditar em meus sonhos, se unindo para concretizar o meu desejo de ter um espaço dedicado a dança, e de estarem sempre nos bastidores dos eventos e cuidando da logística dos meus espetáculos. À minha pequena sobrinha e futura dançarina Ana Beatriz, que durante esses dois anos e meio de convívio diário e participando diretamente comigo nas aulas do meu estúdio de dança e em tardes de estudo para a escrita desse trabalho, já despertou o interesse e o apreço pelo movimento corporal.
    [Show full text]
  • Qurrat Ann Kadwani: Still Calling Her Q!
    1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St.
    [Show full text]
  • Arabic Films
    Arabic Films Call # HQ1170 .A12 2007 DVD Catalog record http://library.ohio-state.edu/record=b6528747~S7 TITLE 3 times divorced / a film by Ibtisam Sahl Mara'ana a Women Make Movies release First Hand Films produced for The Second Authority for Television & Radio the New Israeli Foundation for Cinema & Film Gon Productions Ltd Synopsis Khitam, a Gaza-born Palestinian woman, was married off in an arranged match to an Israeli Palestinian, followed him to Israel and bore him six children. When her husband divorced her in absentia in the Sharia Muslim court and gained custody of the children, Khitam was left with nothing. She cannot contact her children, has no property and no citizenship. Although married to an Israeli, a draconian law passed in 2002 barring any Palestinian from gaining Israeli citizenship has made her an illegal resident there. Now she is out on a dual battle, the most crucial of her life: against the court which always rules in favor of the husband, and against the state in a last-ditch effort to gain citizenship and reunite with her children Format DVD format Call # DS119.76 .A18 2008 DVD Catalog record http://library.ohio-state.edu/record=b6514808~S7 TITLE 9 star hotel / Eden Productions Synopsis A look at some of the many Palestinians who illegally cross the border into Israel, and how they share their food, belongings, and stories, as well as a fear of the soldiers and police Format DVD format Call # PN1997 .A127 2000z DVD Catalog record http://library.ohio-state.edu/record=b6482369~S7 TITLE 24 sāʻat ḥubb = 24 hours of love / Aflām al-Miṣrī tuqaddimu qiṣṣah wa-sīnāryū wa-ḥiwār, Fārūq Saʻīd افﻻم المرصي تقدم ؛ قصة وسيناريوا وحوار, فاروق سعيد ؛ / hours of love ساعة حب = ikhrāj, Aḥmad Fuʼād; 24 24 اخراج, احمد فؤاد Synopsis In this comedy three navy officers on a 24 hour pass go home to their wives, but since their wives doubt their loyalty instead of being welcomed they are ignored.
    [Show full text]
  • Dressing the Dancer: Identity and Belly Dance Students A
    Dressing the Dancer: Identity and Belly Dance Students A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Margaret Anne Deppe IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Joanne Eicher, Elizabeth Bye May 2010 © Margaret Anne Deppe 2010 1 Abstract Dressing the Dancer: Identity and Belly Dance Students Dress is a primary tool in the public presentation of the self (Stone, 1962). Clothing, grooming, and the physical appearance of the dressed body contribute to self image in both professional and recreational settings. Attending belly dance classes is a popular leisure activity among American women, and for many, dress accouterments are a significant part of the class experience. Dressing of the self for recreational events gives individuals the opportunity to express alternate aspects of the self not typically evident in other social settings and provides an opportunity for female socialization. The appearance of vendors selling specialized dancewear for classes, seminars, and workshops suggests that dress plays a significant role for students at all levels of belly dance activity, not just among those who perform professionally. This study examines the types of dress worn for belly dance classes and the motivations for dress choices made by students learning to belly dance from professional instructors in dance classes, seminars, and workshops. The study will further investigate how dress contributes to the expression of identity in the belly dance class context. The methods used for this study are participant observation at locations and events where belly dance classes, workshops, and seminars are held as well as half-hour interviews with students attending those events.
    [Show full text]
  • From Cairo to California a Concise History of Bellydance in Egypt and America
    From Cairo to California a concise history of bellydance in Egypt and America by Renée Rothman, PhD From Cairo to California: a concise history of bellydance in Egypt and America by Renée Rothman, PhD copyright 2013 please do not use material without proper attribution to me. 1 TABLE OF CONTENTS FORWARD 5 BELLYDANCE FAQs: An Introduction to Bellydance in Context 10 The Socio-religious Context of Egypt’s Dance Traditions 10 Bellydance in the Context of America’s “Melting Pot” and Feminist Politics 10 What is Bellydance? 11 Non-bellydance Forms in North Africa 12 Childbirth and Bellydance 13 Distinguishing Features of Bellydance 13 Bellydance Variations: Baladi, Raks Sharqi, and Tribal Fusion 14 The Bellydance World 15 PART ONE: EGYPTIAN BELLYDANCE 16 The Politics of Dancing in Egypt 16 Orientalism and the Occident 17 TRADITIONS OF FEMALE DANCERS IN EGYPT 19 Contextualizing Egypt’s Dancing Women 19 Awalim 19 Muhammad Ali Street Dancers 20 Ghawazi Dancers: The Banat Mazin 22 A Brief History of the Roma (Gypsy) 25 America’s Fictive Gypsy 27 THE RAQS SHARQI REVOLUTION 28 Badia Masabni (1894-1975) 28 Tahia Carioca (1919-1999) 30 NATIONAL FOLKDANCE AND THE FAMILIES REDA AND FAHMY 32 TRADITIONS OF MALE DANCERS IN EGYPT 33 Tito Seif 34 THE SURVIVAL OF BELLYDANCE IN EGYPT 34 PART TWO: AMERICAN BELLYDANCE 36 ORIENTALIST EXPRESSIONS: THE FIRST 100 YEARS OF BELLYDANCE IN THE WEST 36 America and the Middle East 36 Chicago World Fair and the Legend of Little Egypt 36 Orientalist Aesthetics 37 Oscar Wilde and Salomania 37 Ruth St. Denis and Divine Dance
    [Show full text]
  • Benefits of Belly Dance in Childbirth Experience
    BENEFITS OF BELLY DANCE Benefits of Belly Dance in Childbirth Experience Karisma Pathak University of Massachusetts May 5, 2020 Professor Aston K. McCullough Professor Mary Paterno RUNNING HEAD: BENEFITS OF BELLY DANCE 2 ACKNOWLEDGEMENTS I am incredibly thankful to my advisers, friends and family for their support in completing my thesis. I am deeply grateful to my advisors Professor Aston K. McCullough and Professor Mary Paterno for their encouragement, wisdom, guidance, patience, and mentorship this past year. I would also like to thank Professor Paul Dennis and Cara Marie Manlandro for being instrumental in helping me orchestrating this thesis while it was in its initial phases. I cannot begin my thesis without thanking Ruth Manlandro for her dedicated support to me this past year. I am grateful to have someone so supportive of me in accomplishing my goals. Without the support of these advisors, I would not have been able to finish my thesis. I would like to thank my belly dance teacher Melinda Pavlata and the entire UMass Amherst Belly Dance Club for introducing me to and making me fall in love with belly dance. Also, thank you to Tara Campbell for her continued mentorship and support of my doula work in the field of childbirth. I am lucky to have friends like Saswata Mishra, Michael Zhao, Helen Chan, and Elizabeth Tripp who supported me during my thesis. I am thankful to have such positive sources of emotional support and encouragement. Finally, I would like to thank my parents Anjali and Sanjeev, my sister Roma and my brother Jai for their love and support.
    [Show full text]
  • Jonathan Friedlander Collection of Middle Eastern Americana, 1875-2006
    http://oac.cdlib.org/findaid/ark:/13030/kt4779r5hf Online items available Finding Aid for the Jonathan Friedlander collection of Middle Eastern Americana, 1875-2006 Processed by Lorraine Pratt (2006), Sina Rahmadi (2007), and Audra Eagle (2008) in the Center for Primary Research and Training (CFPRT), with assistance from Kelley Bachli, 2008; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2008 The Regents of the University of California. All rights reserved. Finding Aid for the Jonathan 1314 1 Friedlander collection of Middle Eastern Americana, 1875-2006 Descriptive Summary Title: Jonathan Friedlander collection of Middle Eastern Americana Date (inclusive): 1875-2006 Collection number: 1314 Creator: Friedlander, Jonathan. Extent: 33 boxes (16.5 linear feet)21 oversize boxes Abstract: The several thousand items contained in the Middle Eastern Americana collection document the substantial and significant presence of the Middle East in the annals of American popular culture. Over the course of more than 150 years and well into the present public interest in the Middle East has engendered a consumer appetite for a material culture that ranges from popular fiction and cinema to tobacco and coffee. In all its parts and subsets this diverse and multifaceted collection is geared for academic research and scholarly exploration of issues related to the representation of the Middle East in various popular culture domains including literature, cinema, music, photography, graphics and visual art, the performing arts, and entertainment.
    [Show full text]
  • (Con)Sequences: Gender, Dance and Ethnicity
    Issue 2011 36 (Con)Sequences: Gender, Dance and Ethnicity Edited by Prof. Dr. Beate Neumeier ISSN 1613-1878 Editor About Prof. Dr. Beate Neumeier Gender forum is an online, peer reviewed academic University of Cologne journal dedicated to the discussion of gender issues. As English Department an electronic journal, gender forum offers a free-of- Albertus-Magnus-Platz charge platform for the discussion of gender-related D-50923 Köln/Cologne topics in the fields of literary and cultural production, Germany media and the arts as well as politics, the natural sciences, medicine, the law, religion and philosophy. Tel +49-(0)221-470 2284 Inaugurated by Prof. Dr. Beate Neumeier in 2002, the Fax +49-(0)221-470 6725 quarterly issues of the journal have focused on a email: [email protected] multitude of questions from different theoretical perspectives of feminist criticism, queer theory, and masculinity studies. gender forum also includes reviews Editorial Office and occasionally interviews, fictional pieces and poetry Laura-Marie Schnitzler, MA with a gender studies angle. Sarah Youssef, MA Christian Zeitz (General Assistant, Reviews) Opinions expressed in articles published in gender forum are those of individual authors and not necessarily Tel.: +49-(0)221-470 3030/3035 endorsed by the editors of gender forum. email: [email protected] Submissions Editorial Board Target articles should conform to current MLA Style (8th Prof. Dr. Mita Banerjee, edition) and should be between 5,000 and 8,000 words in Johannes Gutenberg University Mainz (Germany) length. Please make sure to number your paragraphs Prof. Dr. Nilufer E.
    [Show full text]
  • Aswat Zellerbach Hall (“Voices”)
    Cal Performances Presents Program Tuesday, March 17, 2009, 8pm Aswat Zellerbach Hall (“Voices”) Aswat PROGRAM (“Voices”) Mohammad Abdel Wahhab (1907–1991) Fakkaruni Wadi’ Al-Safi (b. 1921) Jannat Al-Safi Weili Laou Yidrun Wahhab Sakana l-Layl Zakariyya Ahmad (1896–1961) Il Wardi Gamil Assi Rahbani (1923–1986) & Mansour Rahbani (1925–2009) Sahrit Hubb INTERMISSION Celebrating the Golden Age of Arab Music & Cinema Farid Al-Atrash (1915–1974) Kahramana starring Al-Atrash Layalil Unsi Fi Vienna Ibrahim Azzam Ahmad Ana Fi Intidharak Malleit Sonia M’barek Wahhab Ya Wardi Min Yishtirik Khalil Abonula Rima Khcheich Al-Atrash Ma ‘Alli w-‘Ultillu Wahhab Ya Di n-Na’im Simon Shaheen, director Presented in Association with the John F. Kennedy Center for the Performing Arts and the University Musical Society at the University of Michigan. Cal Performances’ 2008–2009 season is sponsored by Wells Fargo Bank. 4 CAL PERFORMANCES CAL PERFORMANCES 5 Program Notes Cast Aswat Repertoire The Aswat Orchestra Fakkaruni (“Remind Me”) This traditional Arab orchestra features virtuoso instrumentalists playing violins, ouds, double An instrumental arrangement of a vocal master- an instrumental dance performed in his filmAfrita bass, cello, nay, qanun (zither) and percussion under the direction of maestro Simon Shaheen, piece composed in 1966 by Mohammad Abdel Hanim (“Jinni”), produced in Egypt in 1949. It was recreating the sound of the Golden Age. Wahhab and sung by Egyptian diva Um Kulthum. composed for dancer and actress Samia Gamal, The song starts with a lengthy introduction and in- who played the main role next to Al-Atrash. Director, Violin Simon Shaheen cludes several interludes that link together to form a fantastic instrumental.
    [Show full text]
  • American Belly Dance and the Invention of the New Exotic: Orientalism, Feminism, and Popular Culture
    Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 1-1-2010 American Belly Dance and the Invention of the New Exotic: Orientalism, Feminism, and Popular Culture Jennifer Lynn Haynes-Clark Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Let us know how access to this document benefits ou.y Recommended Citation Haynes-Clark, Jennifer Lynn, "American Belly Dance and the Invention of the New Exotic: Orientalism, Feminism, and Popular Culture" (2010). Dissertations and Theses. Paper 20. https://doi.org/10.15760/etd.20 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. American Belly Dance and the Invention of the New Exotic: Orientalism, Feminism, and Popular Culture by Jennifer Lynn Haynes-Clark A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Anthropology Thesis Committee: Michele R. Gamburd, Chair Sharon A. Carstens Priya Kandaswamy Portland State University ©2010 Abstract Belly dance classes have become increasingly popular in recent decades in the United States. Many of the predominantly white, middle-class American women who belly dance proclaim that it is a source of feminist identity and empowerment that brings deeper meaning to their lives. American practitioners of this art form commonly explain that it originated from ritual-based dances of ancient Middle Eastern cultures and regard their participation as a link in a continuous lineage of female dancers.
    [Show full text]