Liikuttavat Erot Neljänneksi Olen Tutkinut Tanssijoiden Suhtautumista Eroihin Erittelemällä Erilaisia Itämaisen Tanssin Tietämisen Tapoja

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Liikuttavat Erot Neljänneksi Olen Tutkinut Tanssijoiden Suhtautumista Eroihin Erittelemällä Erilaisia Itämaisen Tanssin Tietämisen Tapoja TURUN YLIOPISTON JULKAISUJA ANNALES UNIVERSITATIS TURKUENSIS SARJA - SER. C OSA - TOM. 355 SCRIPTA LINGUA FENNICA EDITA LiikuttavatEtnografisia kohtaamisia erot itämaisessa tanssissa Anu Laukkanen TURUN YLIOPISTO UNIVERSITY OF TURKU Turku 2012 Sukupuolentutkimus Historian, kulttuurin ja taiteiden tutkimuksen laitos Humanistinen tiedekunta Turun yliopisto Ohjaajat Professori Marianne Liljeström Turun yliopisto Dosentti Petri Hoppu Tampereen yliopisto Esitarkastajat FT Hanna Väätäinen Professori Pirkko Markula University of Alberta Vastaväittäjä Professori Pirkko Markula University of Alberta Taitto: Sari Miettinen Kannen kuva: Mari Koivunen Tekijänoikeudet: Anu Laukkanen Sarja C 355 ISBN 978-951-29-5242-7 (Painettu/Print) ISBN 978-951-29-5243-4 (Sähköinen/Pdf) ISSN 0082-6995 Juvenes print – Suomen Yliopistopaino Oy, Turku 2012 Sisällys Kiitokset 1. Johdanto 7 Itämainen tanssi Suomessa 12 Itämaisen tanssin määritelmiä 12 Tanssin historiaa Suomessa 14 Itämaisen tanssin liikekieli ja tyylit 16 Yhteenvedon rakenne 19 Artikkelit 20 2. Affektiivinen tanssietnografia 23 Affektit metodologiana 23 Henkilökohtaista ja sisäpiiritutkimusta? 27 Tutkimusaineisto 29 Tutkittavien valinta 32 Eettisiä pohdintoja 35 Erot ja affektit haastattelussa 38 3. Diskursiivisesti ja performatiivisesti tuotettu sukupuoli itämaisessa tanssissa 47 Diskurssit ja sukupuolen performatiivisuus 47 Vapauttavaa tanssia naisille? 53 Terveellistä, luonnollista ja spirituaalista tanssia 61 Feminiiniset liikkumisen tavat 64 4.Naisten väliset erot itämaisessa tanssissa 68 Koloniaalinen osallisuus ja toisen esittäminen 69 Toisen esittäminen 72 Monikulttuurinen ambivalenssi 76 Erot ja ambivalenssi 78 5. Kohtaamisen mahdollisuudet itämaisessa tanssissa 81 Affektit ja kinestesia 81 Tieto, tulkinta ja eettisyys 85 Tutkimusaineisto 88 Lähteet 90 Summary 112 Tutkimuksen artikkelit Artikkeli I 119 Onko välimatkalla väliä? Etäisyys, läheisyys ja tiedon tuottaminen haastattelutilanteessa Artikkeli II 135 Luonnollista liikettä, epäsopivia asentoja Haastattelututkimus itämaisen tanssin liikekielestä Suomessa Artikkeli III 163 Eroja arjessa Kohtaamisen mahdollisuudet ja rajat monikulttuurisessa tanssiprojektissa Artikkeli IV 187 Egyptiläinen tunne – Ääni ja liike affektiivisena kohtaamisen paikkana egyptiläisessä tanssityylissä Artikkeli V 211 Tieto ja tietäminen itämaisessa tanssissa Kiitokset Tätä tutkimusta ei olisi ilman niitä itämaisen tanssin opettajia, esittäjiä ja harrastajia, jotka suostuivat haastateltavikseni. Kiitos teille! Erityisesti kiitän Hannele Lindgreniä, Tuija Rinnettä ja Outi Bomania avusta ja kiehtovista keskusteluista. Työni ohjaajaa professori Marianne Liljeströmiä kiitän innostuksesta, tuesta ja asian- tuntevasta keskustelukumppanuudesta sekä väitöskirjan että muun akateemisen työn yhteydessä. Toista ohjaajaani dosentti Petri Hoppua kiitän kannustuksesta ja kiinnosta- vista tanssintutkimuksellisista keskusteluista. Folkloristiikan opintojen loppuvaiheessa professori Annikki Kaivola-Bregenhøj kannusti minua jatko-opintojen pariin, kiitos siitä! Professori Marja-Liisa Honkasaloa kiitän työtoveruudesta, asiantuntemuksesta ja tuesta väitökseen valmistautumisessa. Kiitän FT Hanna Väätäistä suostumisesta työni esitarkastajaksi ja tarkoista ja oival- tavista huomioista, jotka helpottivat huomattavasti työn viimeistelyä. Samaten kiitän professori Pirkko Markulaa kriittisistä huomioista esitarkastuslausunnossa ja suostu- misesta vastaväittäjäkseni. Tärkein tieteellinen kotini on ollut Turun yliopiston naistutkimuksen, myöhemmin sukupuolentutkimuksen oppiaine. Kiitän kaikkia oppiaineessa työskennelleitä kollego- jani, erityisesti Siru Kainulaista, Lotta Kähköstä, Taru Leppästä, Mona Mannevuota, Mari Pajalaa, Sanna Rojolaa ja Elina Valovirtaa hulvattomasta ja tarpeen tullen asiallisesta työtoveruudesta. Kiitän myös naistutkimuksen seminaareissa ja lukupiireissä kanssani käyneitä kollegoja, kuten Katariina Kyrölää, Johanna Ahosta ja Anu Isotaloa. Suomen Akatemian Häiritsevät erot -projektissa sain työskennellä Mariannen, Elinan, Johannan ja Katan lisäksi Ilana Aallon ja Susanna Paasosen kanssa. Kiitos projek- tikumppanuudesta! Artikkeleitani ovat eri vaiheissa kommentoineet seminaaritoverien ja artikkelien toimitukseen osallistuneiden henkilöiden lisäksi muun muassa Salla Tuori, Kaisa Ilmonen, Jaana Kouri, Taru Leppänen, Olli Löytty ja Tiina Mahlamäki. Kiitos asian- tuntemuksestanne ja toveruudesta! Taitavia tutkijoita Ilona Hongistoa ja Katve-Kaisa Kontturia kiitän tuesta. Empaattisesta työpöytänaapuruudesta kiitän Monan ja Lotan lisäksi Tuomas Hovia ja Marko Gyléniä. Olen iloinen, että tämän vuoden kesäkuussa saimme sukupuolentutkimuksen käytä- välle uudet, mutta varsin tutut naapurit. Kiitänkin folkloristiikan oppiaineen henkilö- kuntaa hauskoista lounashetkistä ja kollegiaalisesta tuesta. Ilman ystäviä tämä työ olisi jäänyt tekemättä tai se olisi ollut ainakin monin verroin raskaampaa. Kiitänkin rakkaita ystäviäni vierellä kulkemisesta ja elämän keventämi- sestä kun se on ollut tarpeen. Mari Koivusta kiitän lisäksi ammattilaisen otteista juhla- järjestelyissä sekä väitöskirjan kansikuvasta. Sara Eevaa kiitän avusta väitöskirjani kielenhuollossa. Työtäni ovat tukeneet taloudellisesti Turun Yliopistosäätiö, Alfred Kordelinin säätiö, Häiritsevät erot. Identiteetin, paikan ja vallan feministiset luennat. Sanna Rojolaa ja Michael Duttonia kiitänOskar englanninkielisenÖflundin säätiö jatiivistelmän Suomen Akatemiankääntämisestä. rahoittama projekti Isäni Teuvo Laukkanen ei ehtinyt nähdä työni valmistumista, mutta oli vakuuttunut siitä, että saavutan tavoitteeni. Kiitänkin perhettäni tuesta ja avusta kaikkien näiden vuosien aikana. Äitini Aira Laukkanen on tukenut arjen pyörittämisessä erityisesti lapsenlapsensa Inkerin mummuna. Sisaruksiani Minnaa, Sakua ja Jaanaa haluan kiittää siitä, että he ovat juuri sellaisia kuin ovat ja että heidän seurassaan voin olla oma itseni. Marja Partasta kiitän lämmöstä ja surujen ja ilojen jakamisesta. Tero-Petri Suovasta ja Laura Mannilaa kiitän uusperheen arjesta sekä hauskasta ja viisaasta seurasta. Tytärtäni Inkeriä kiitän kärsivällisyydestä etenkin väitöskirjan viime metreillä, kun olen ollut välillä turhan kireä ja kiireinen. Onneksi osaamme nauraa! Sari Miettistä kiitän kannus- tavasta kumppanuudesta niin arjessa kuin juhlassa, pohdiskelevista keskusteluista ja väsymättömästä tekstieni kommentoinnista. Kirja sai lopullisen muotonsa Sarin taita- vissa käsissä, suurkiitos siitä! Kivenhakkaajankadulla, joulukuun 3. päivänä, 2012 Anu Laukkanen 1. Johdanto Löysin vanhojen valokuvien joukosta kuvan itsestäni esittämässä itämaista tanssia1 vuonna 1990. Kuva on otettu Neuvostoliitossa, Murmanskissa, venäjän kielen opiske- lijoille tarkoitetulla nuorten retkellä. Tuohon aikaan ei tosin puhuttu itämaisesta tans- sista vaan vatsatanssista. Olin edellisenä kesänä ollut matkalla Turkissa, jossa olin nähnyt vatsatanssia turisteille tarkoitetussa illanvietossa. Esitys oli ollut minusta mykis- tävä ja tanssija upea. Jo samana iltana ravintolan takaterassilla tapailimme eksoottisina pitämiämme tanssiliikkeitä matkaseurueen kanssa, ja Suomeen päästyämme hankimme Etelä-Suomesta vierailevan vatsatanssinopettajan pohjoiseen kotikaupunkiini Kemiin. Ehdin opetella vatsatanssin alkeita noin vuoden ajan epäsäännöllisillä viikonloppu- kursseilla, ja halusin esitellä näitä hataria tanssitaitojani kansainvälisessä ilmapiirissä Murmanskin retkemme illanvietossa. Kuvassa ylläni on Turkista ostetut haaremihousut ja bikinin yläosa. Päässäni on huivi, joka peittää kasvoni silmiä lukuun ottamatta. Näyttää, että olen tehnyt otsaani myös hindunaisten käyttämän punaisen täplän, bindin. Bindi on kertonut kantajansa siviilisäädystä, uskonnollisuudesta tai kuulumisesta tiettyyn etni- seen ryhmään, mutta muun muassa intialaisten bollywood-elokuvien leviämisen myötä se on omaksuttu eksoottiseksi koristeeksi myös länsimaisessa populaarikulttuurissa. Itämaista eksotiikkaa, olkaa hyvä! Esitystilanteeseen liittyi nautintoa omista taidoista, musiikin ja liikkeen kokemuksellisesta yhteydestä omassa kehossa ja myös mahdol- listen ihailevien katseiden kohteena olemisesta. Muistaakseni esityksen jälkeen saamani palaute oli positiivista – tai ainakaan en pysty muistamaan mahdollisia negatiivisia tilan- teeseen liittyviä tunteita. Nyt kuvan katseleminen kuitenkin nolottaa ja hävettää minua. Omasta tanssimi- seen ja muille esiintymiseen liittyvästä nautinnosta huolimatta on mahdotonta nähdä esitys viattomana, vailla mitään poliittista merkitystä2. Feministisiin ja jälkikoloniaa- lisiin erojen ja vallan teorioihin tutustuminen on tuonut oman ja muiden tanssimisen kokemiseen häiritseviä elementtejä. Toisten esittämistä koskevien tutkimusten luke- misen myötä paljas napa ja kasvot peittävä huivi alkoivatkin näyttää orientalistiselta, kuvitteellista ”Orienttia” haltuunottavalta eleeltä ja omiin tarpeisiin muovatulta fantasi- alta itämaisuudesta. Huivi liittää minut eksotisoivan ja orientalistisen, itämaisia naisia seksualisoivan kuvaston lisäksi todellisiin musliminaisiin, joiden huivin käytöstä on 1 Itämainen tanssi tässä tarkoittaa Lähi-idän ja Pohjois-Afrikan alueilta kotoisin olevaa lantion seudun liik- keitä korostavaa soolotanssimuotoa, jota kutsutaan Suomessa myös vatsatanssiksi tai napatanssiksi. 2 Hävettävää voi olla myös omien tanssitaitojen puutteellisuus. Yksi haasteltavistani vuonna 1998 vastasi kysymykseeni ”kuinka pian sä rupesit esiintymään ja ite opettamaan?” seuraavasti: ”No se tässä onkin kaik- kein hävettävintä, että mä rupesin esiintymään tosi nopeesti, koska
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