DOCSLIB.ORG

Feminist Analysis of Belly Dance and Its Portrayal in the Media

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. There are different kinds of bellydance such as folk, tribal fusion, cabaret etc. In a world and time where women‟s rights and respect has been the foremost of most people‟s concerns, bellydance with its barrier breaking techniques and methods have created controversies yet have also resulted in a form of dance that is beautiful and helps a woman celebrate herself. A feminist analysis of belly dance gives an insight into different viewpoints that gives belly dance its extreme contrasting reactions. Certain feminists believe belly dance is empowering whereas others believe that it degrades women and is a set-back for women‟s rights. Media disseminates information and has an influence over what people perceive. Various theories have provided an insight into the power of media and its impact on society. This paper takes a look at bellydance from a general feminist perspective and also forays into the media‟s portrayal of this dance form by using a qualitative method of analysis. Key words: Belly dance, Feminism, Media, stereotypes vii viii ACKNOWLEDGEMENTS The author wishes to express sincere appreciation to the Department of Media Studies for their extended long-term support and especially to Professor Suparna Naresh and Professor Sushma Murthy for their vast reserve of patience and knowledge. This thesis would never have been completed without the encouragement and devotion of my family and friends. ix x DEDICATION To my family and friends xi xii TABLE OF CONTENTS Chapter 1 INTRODUCTION .......................................................................................... 1 Chapter 2 REVIEW OF LITERATURE .......................................................................... 9 Chapter 3 METHODOLOGY ........................................................................................ 13 3.1 Research Problem ......................................................................................... 17 Chapter 4 ANALYSIS ................................................................................................... 19 4.1 Expert Interview ........................................................................................... 24 4.2 Focus Group Discussion ............................................................................... 44 4.3 Content Analysis ........................................................................................... 50 Chapter 5 CONCLUSION ............................................................................................. 59 5.1 Expert Interview ........................................................................................... 61 5.2 Focus Group Discussion ............................................................................... 64 5.3 Content Analysis ........................................................................................... 65 Chapter 6 WORKS CITED ............................................................................................ 68 xiii xiv Chapter 1 INTRODUCTION According to feminist theorist Bell Hooks, feminism is a not an anti-men movement but one that seeks to go against sexism, its exploitation and oppression. (Hooks, 2000) The belief that feminism is about anti-men creates dissonances and problems in the whole hearted acceptance of feminism by everybody. A simple belief about feminism is that it is simply is about having equal rights and opportunities for men and women and the prospects for a woman to whole heartedly follow her choices and desires. A theory that covers various aspects such as politics, race, gender, the human body and so on, feminism is a vast and interlinks various other thoughts and disciplines such as psychology and literature. Belly dance is one of the oldest dance forms that have been recorded. The word „belly dance‟ itself brings to mind various images, most of them stereotypical, some of them true and others that are an insult to the art form. Most of these images include a skimpily clad woman moving her hips sensuously while reality is much beyond this. Belly dance has not been seen for the art form that it is but more as a means of titillating others and sexually attractive rather than sensual. Women who practise this art form in most cases have been looked down upon and have been thought to be a little too „free‟ or in some extreme cases, „shameless‟. There are people who see belly dance for what it is, a dance form that lets a woman express herself in various ways. It requires a certain level of comfort with the body and this in turn helps in liberating her. Apart from keeping a woman physically fit, belly dance also has a positive impact on self-esteem and body issues and helps a person become more comfortable and accepting of herself. Contrary to popular belief, belly dance is not restricted to just women, there are certain dance schools that involve men as well and there are various famous male belly dancers as well. Dance, on its own is a subjective art form. The beauty of it is that it allows everyone to have their own personal way of connecting, interpreting and expressing themselves. Bellydance is a subject whose history is highly contested and hence, has led to conflicting theories. There are many plausible theories regarding the history. Many believe that it is the oldest form of dance. Many believe that it originated in Egypt; some believe that it was spread by gypsies travelling from India. Bellydance is known by a lot of names for example, “dance du ventre” is the name given by the French which means “Dance of the stomach”. “Cifte telli” which is also the name of Turkish rhythm is the name given by the Greeks and in Egypt it is called “Raks/Raqs Sharki”. In order to distinguish it from “baladi” or country dance,the middle easterners called it “dance orientale”. It advanced through the influence of various areas and is still developing today as well. Some also refer to it as “Eastern dance”, “Indian Dance” etc. Bellydance has a lot of haziness associated with it mainly due to its history where it was allied to both erotic and religious elements. Many believe that it has origins linked to ancient fertility cults and rituals. Fertility rituals have existed in several ancient cultures. These ancient cultures also had a representative Mother Goddess under different names such as Ishtar, Aphrodite, Venus, Bhagvati and Isis. The main function that was represented by these Goddess was reproduction and in terms of the entire planet and not just human beings. These beings guaranteed that cycle of seasons and the growth of crops were steady, perpetuation of race and increase of livestock. The fortune of these cities and civilizations were based on the benevolence and happiness of their mother deities. None of these divine beings were celibate nor were the priestesses expected to be celibate as it went against their purpose. This was one of the commencements of temple prostitution which was hailed in its day and time. There is evidence of these practises in the writings of Plautus, Socrates etc. Sacred dancing was also a part of the ritual especially a particular form that placed emphasis on the abdomen which was the source of fertility. Even today in Egypt, custom dictates that the wedding could hire a bellydancer and to later capture an image with their hands on the belly dancer‟s stomach. This practise is no doubt a reference to fertility rituals. The Berber tribal birthing ceremony is evocative of these ancient rituals. A hollow is dug in the ground where the mother-to-be sits; she is surrounded by women who dance with repetitive abdominal movements while the woman gives birth. This dance was considered sacred and was not meant for the entertainment of men. Bellydance is traditionally performed barefoot, primarily because it connects the dancer directly to the Earth. This form of dance developed from traditional
Load more

Recommended publications
  • 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.
    [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]
  • 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]
  • 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]
  • Spatial and Temporal Processes Within Improvisational Tribal Style
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Embodiment, Performativity and Identity: Spatial and Temporal Processes Embedded within Improvisational Tribal Style Dance Georgia E. Conover Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF SOCIAL SCIENCES EMBODIMENT, PERFORMATIVITY AND IDENTITY: SPATIAL AND TEMPORAL PROCESSES EMBEDDED WITHIN IMPROVISATIONAL TRIBAL STYLE DANCE By Georgia E. Conover A Thesis submitted to the Department of Geography in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Fall Semester, 2007 Copyright © 2007 Georgia E. Conover All Rights Reserved The members of the Committee approve the thesis of Georgia E. Conover defended on November 5, 2007. ______________________________ Philip Steinberg Professor Directing Thesis ______________________________ Jonathan Leib Committee Member ______________________________ Barney Warf Committee Member Approved: ______________________________________ Victor Mesev, Chair, Department of Geography The office of Graduate Studies has verified and approved the above named committee members. ii This work is dedicated to my husband, who spent countless hours playing the roles of sounding board, counselor, editor, and study partner; he could not have predicted that saying “I do” would mean taking part in long discussions about dance and being at my side through countless Tribal Style performances.
    [Show full text]
  • Cd25-Ilovepdf-Compressed 2
    CONSCIOUS DANCERTHE DANCE FIRST MEMBER’S MAGAZINE DANCING WITH RUMI WHo’s mOVING WHO R EADER’s chOICE BEST OF THE BEST 101 MODALITY GUIDE ECO-SENSUAL GARB NEW SPIN ON ANALOG TrAVEL VISIONBOARDING PHOTO: SCOT BELDING CONSCIOUS DANCER MAGAZINE CONTENTS WINNERS: Best-of 1,000,001 PLACES Conscious Dance TO DANCE A big heart full of every one of A comprehensive listing of the well-loved leaders, products, websites, organizations, and and programs that make this regional dances from around the movement tick. world. DANCING WITH RUMI SPINNING INTO THE A pair of serendipitous analog artifacts that illustrate the love NEW YEAR and dancing wisdom of the Sufi Your guide to getting set up with master in sensuous calligraphy. analog sound in your home or studio. Turntable tips and resources 101 MOVEMENT for record finding. MODALITIES YOUTH ON THE MOVE Discover the world’s most Dynamic organizations and leaders comprehensive collection of cultivating a growing conscious mind-body-spirit practices, listed body intelligence movement in alphabetically from 5Rhythms to youth. Zumba. DANCE @ HOME UPSHIFT GUIDE Portfolio pages introducing you to Log onto movement with these the members of the Dance First virtual and online programs you Association. Meet the modalities at can access in-house or on the go. the heart of the movement. FEELING THE VIBES EcO SENSUAL Analog modalities that move your body and spirit with the magic of GARB GUIDE voice, drums, and living sound. Meet the makers of the world’s finest eco-sensual clothing and SOMATIC SYLLABUS conscious adornment. A collection of forward-thinking and innovative educational 30 SOMATIC HOTSPOTS institutions that are blazing new Our pick of the very best places trails in the world of academia.
    [Show full text]
  • Al- Raida Issue
    CJ") ,p I [ ;~ :z: -LU ::E --' ::I: 0- <[ :E CJ") ~ ::I: (...) ~..0\)I Volume XIII, No, 73, Spring 1996 The PioneE LL. LU :::J: ~ I- :::J: -:3 • One day in the south Prof e a .' edlcal pioneer ABOUT IWSAW The Institute for Women's Studies in the Arab Women's Documentation Center in the Stoltzfus World (IWSAW) was established in 1973 at the Library at LAU. The Center holds books and peri­ Lebanese American University (formerly Beirut odicals. The Institute also publishes a variety of University College). The founder and Director of books and pamphlets on the status, development the IWSAW is Dr. lulinda Abu Nasr. Initial fund­ and conditions of Arab women, in addition to Al­ ing for the Institute was provided by the Ford Raida. Eight children's books with illustrations, Foundation. and two guides, one of which specifies how to set up children's libraries, and the other which contains OBJECTIVES: The Institute strives to serve as a data information about producing children's books, have bank and resource center to advance a better under­ also been published by IWSAW. In addition, the standing of issues pertaining to Arab women and Institute has also created income generating pro­ children; to promote communication among indi­ jects which provide employment training and assis­ viduals, groups and institutions throughout the tance to women from war-stricken families in world concerned with Arab women; to improve the Lebanon. The Institute has also devised a "Basic quality of life of Arab women and children through Living Skills Project" which provides a non-formal, educational and development projects; and to integrated educational program for semi-literate enhance the educational and outreach efforts of the women involved in development projects.
    [Show full text]
  • AN AMERICAN BELLY DANCER by DEVON RYAN POLYNONE A
    AN AMERICAN BELLY DANCER by DEVON RYAN POLYNONE A THESIS Presented to the Department of Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Fine Arts June 2012 THESIS APPROVAL PAGE Student: Devon Ryan Polynone Title: An American Belly Dancer This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Fine Arts degree in the Department of Dance by: Steven Chatfield Chairperson Shannon Mockli Member Christian Cherry Member and Kimberly Andrews Espy Vice President for Research & Innovation/Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2012 ii © 2012 Devon Ryan Polynone iii THESIS ABSTRACT Devon Ryan Polynone Master of Fine Arts Department of Dance June 2012 Title: An American Belly Dancer The purpose of this research was to investigate the creative process of six professional American Belly Dancers: Shannon Conklin, Elena Villa, Lila McDaniel, TC Skinner, Manny Garcia, and Cera Byer. I took a class with each dancer, witnessed each dancer creating movement, and witnessed each dancer perform. After each experience I held discussions with each dancer. I learned that, for some of the dancers, music is everything, but for others, Belly Dance can be performed to any sound. For some of the dancers, Belly Dance is highly codified, and for others it is experimental. For some of the dancers, Belly Dance is a solo endeavor, but for others, dancing with a troupe is essential. Following these findings, I created six movement explorations – one based on each professional Belly Dancer in my study.
    [Show full text]
  • 1,000,001 Floors 101 Movement Modalities Ecstatic Dance, Yogaflow & Leadership Trainings
    CONSCIOUS DANCER + DANCE FIRST ASSOCIATION PRESENTS UPSHIFT GUIDE SOMATIC hot SPOTS DANCE GARB GUIDE mini MOJO VINYL VIBES 1,000,001 FLOORS 101 MOVEMENT MODALITIES ECSTATIC DANCE, YOGAFLOW & LEADERSHIP TRAININGS CONTENTS CONSCIOUS DANCERCONSCIOUS MA G AZINE & DANCE FIRST ASSOCIATION PHOTO: DAVID ESTep PHOTO: LAURA CIROLIA, UPFRONT Analog Modalities Modes that move your body and spirit with the magic of living sound. Home Practices Virtual and online programs you can access in-house or on the go. Leadership Trainings Programs and mentors to channel your passion into a life of service. Analog Advice Easy starting ideas for facilitators and where to find records near you. Turning the Tables Insiders tips for beginners and aspiring DJs from label boss Aaron Dae. RESOURCES 101 MOVEMENT MODALITIES The web’s most comprehensive collection GUIDES of mind-body-spirit practices. CONTENTS DANCE FIRST ASSOCIATION MEMBERS 1,000,001 PlACES TO DANCE UPSHIFT GUIDE Websites, organizations, and regional Meet our members who are leading dances from around the world. the way in the world of movement. SOMATIC SYllABUS GARB GUIDE A collection of forward-thinking and Eco-sensual clothing designers and innovative educational institutions. out-of-this-world adornments. IA, IA, L ep A GROWING MOVEMENT DIVINE DESTINATIONS EST Organizations and leaders cultivating D The world’s finest floors and soma-sensi- conscious movement in youth. tive accomodations on which to gather. : DAVI HOTO P PHOTO: LAURA CIRO CONSCIOUS DANCER MAGAZINE | UPSHIFT GUIDE | DANCE FIRST FOUNDATION PUBLISHER’S NOTE CONSCIOUS DANCER MAGAZINE PUBLISHER & EDITOR-IN-CHIEF Mark G. Metz [email protected] CREATIVE DIRecTOR EDITORIAL DIRecTOR STAFF PHOTOGRAPHER Laura Cirolia [email protected] AdmIN ASSISTANT IA Dina Hady L [email protected] IRO C DANCE FIRST FOUNDATION AURA EXECUTIVE DIRECTOR L Mark G.
    [Show full text]
  • The Belly Dancer Project: a Phenomenological Study Of
    The Belly Dancer Project: A Phenomenological Study of Gendered Identity through Documentary Filmmaking by Ramsi Kathryn Watkins A Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Approved March 2012 by the Graduate Supervisory Committee: Bob Bolin, Chair Michelle Hegmon Hjorleifur Jonsson ARIZONA STATE UNIVERSITY May 2012 ABSTRACT In this study, the researcher develops a documentary-driven methodology to understand the ways four women in the United States use their involvement in the belly dance phenomenon to shape their ongoing individual identity development. The filmmaking process itself and its efficacy as a process to promote self- understanding and identity growth among the participating belly dancers, are also investigated phenomenologically. Methodological steps taken in the documentary- driven methodology include: initial filmed interviews, co-produced filmed dance performances, editorial interviews to review footage with each dancer, documentary film production, dancer-led focus groups to screen the film, and exit interviews with each dancer. The project generates new understandings about the ways women use belly dance to shape their individual identities to include: finding community with other women in private women's spaces, embodying the music through the dance movements, and finding liberation from their everyday "selves" through costume and performance. i DEDICATION This work is dedicated to the beautiful dancer in each of us. ii ACKNOWLEDGMENTS I would like to thank my committee chair, Bob Bolin, for his teachings, inspiration, and patient guidance since my first day of graduate school, in August, 2001. He taught me to truly critically question the world around me, and more than once forced me to critically question my decision to give up this dream.
    [Show full text]
  • The Mosaic Dance Concert Series: a Tapestry of Middle Eastern Dances
    Master’s Project Document 2012 The Mosaic Dance Concert Series: A Tapestry of Middle Eastern Dances By Katya Faris Master’s Project Document, Katya Faris Table of Contents Introduction I. The Instructors’ Biographies II. Teaching Techniques III. Performance Studies IV. Dancer Behavior Conclusion Appendix: Concert Program Notes I. Mosaic I II. Mosaic II III. Mosaic III IV. Mosaic IV 2 Master’s Project Document, Katya Faris Keywords: tapestry, mosaic, modern, oriental, contemporary, traditional, folkloric Tapestry: a rug that weaves together several themes by criss-crossing two sets of yarn; in dance it refers to the idea of bringing different styles together to weave one show. Mosaic: a pattern made of small pieces that together create one design. Modern: used in bellydance as a contrast to “traditional”; also a style of dance, “Modern dance”, that was created in contrast to ballet by pioneer Isadora Duncan. Modern dance genres are usually named after the choreography, such as Martha Graham style. Oriental: used in “oriental dance”; the English translation of the Arabic word, raqs sharqi, which means “dance of the east”. Contemporary: a synonym for “modern”; also a sub-genre of Modern dance. Traditional: in bellydance this often refers to folk dance traditions, or how movements have been orally passed down from generation to generation. Folkloric: in bellydance this refers to dances that are done in the villages of the Middle East. Introduction: I chose for my Master’s Thesis Project in Ethnomusicology to do a series of dance concerts focusing on Arabic Music and Dance. My goal was to arrange an array of male and female dances from many different cultures within the “Arab World” and to set it on stage.
    [Show full text]