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Popular Dancers of Egyptian Cinema: Performing Respectability and Modernity from the Late 1950S to the Early 1970S

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Popular Dancers of Egyptian Cinema: Performing Respectability and Modernity from the Late 1950S to the Early 1970S POPULAR DANCERS OF EGYPTIAN CINEMA: PERFORMING RESPECTABILITY AND MODERNITY FROM THE LATE 1950S TO THE EARLY 1970S by Danielle LeBlanc Bachelor of Arts, University of British Columbia 2008 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS In the Department of History of the Faculty of Arts and Social Sciences © Danielle LeBlanc 2011 SIMON FRASER UNIVERSITY Spring 2011 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for Fair Dealing. Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Approval Name: Danielle S. LeBlanc Degree: Master of Arts Title of Project: Popular Dancers of Egyptian Cinema: Performing Respectability and Modernity from the Late 1950s to the Early 1970s Examining Committee: Chair: Dr. Mary-Ellen Kelm Associate Professor, Department of History Dr. Paul Sedra Senior Supervisor Assistant Professor, Department of History Dr. Thomas Kuehn Supervisor Assistant Professor, Department of History Dr. Derryl MacLean Supervisor Associate Professor, Department of History Dr. Kenneth Seigneurie External Examiner Associate Professor, World Literature Program Date Defended/Approved: ________________________________________ ii Declaration of Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection (currently available to the public at the “Institutional Repository” link of the SFU Library website <www.lib.sfu.ca> at: <http://ir.lib.sfu.ca/handle/1892/112>) and, without changing the content, to translate the thesis/project or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work. The author has further agreed that permission for multiple copying of this work for scholarly purposes may be granted by either the author or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without the author’s written permission. Permission for public performance, or limited permission for private scholarly use, of any multimedia materials forming part of this work, may have been granted by the author. This information may be found on the separately catalogued multimedia material and in the signed Partial Copyright Licence. While licensing SFU to permit the above uses, the author retains copyright in the thesis, project or extended essays, including the right to change the work for subsequent purposes, including editing and publishing the work in whole or in part, and licensing other parties, as the author may desire. The original Partial Copyright Licence attesting to these terms, and signed by this author, may be found in the original bound copy of this work, retained in the Simon Fraser University Archive. Simon Fraser University Library Burnaby, BC, Canada Last revision: Spring 09 Abstract This thesis examines the role of popular dancers in Egyptian cinema of the late 1950s, 1960s and early 1970s, while deliberating the capacity of certain dancers to achieve a level of esteem over the course of their careers and in their film roles. Films that feature the prominent dancers Samia Gamal, Tahiya Karioka and Naima Akif are considered in the course of three chapters. The relationship between Egyptian notions of respectability, identity, tradition and modernity, the on and off-screen construction of the dancers‟ characters and their roles in certain films is considered. The connection between dancers‟ roles and major historical events, such as the 1952 Egyptian revolution, the nationalization of the Suez Canal and the 1967 war with Israel, and the significant conceptual changes that occurred as a result of these events are also speculated on. Keywords: Dancers; Dance; Belly Dance; Egypt; Cinema; Naima Akif; Samia Gamal; Tahiya Karioka; modernity; respectability; tradition. iii Acknowledgements Several organizations and people deserve my thanks for their assistance in the process of researching and writing this thesis. The History Department at SFU provided opportunities to TA for courses on Middle Eastern history and others that provided funding while enabling me to explore diverse scholarship and methods of interpretation and teaching. I greatly appreciate Professors Paul Sedra, Derryl Maclean, Andre Gerolymatos and Jeremy Brown for taking me on as a TA and TM. Significantly, the Social Sciences and Humanities Research Council of Canada (SSHRC) provided me with a generous scholarship which allowed me to take the time to complete this thesis. The people of the Interlibrary Loans Office were very helpful in bringing in innumerable sources. Several people from the History department deserve my thanks: Professors Emily O‟Brien, whose voice rings in my head as I write questioning “this what?” and “they who?” and Ilya Vinkovetsky for methodology, pub nights and for continuing to check in on me, as well as Ruth Anderson for answering close to a thousand questions. Most importantly, I would like to thank the professors of my graduate committee. My senior supervisor, Paul Sedra, always questioning, pressed me throughout this process to be comprehensive, analytical and impartial. His lectures and critical commentary have been the foundation of my training in the discipline. Thank you to Professor Derryl Maclean for interesting office talks and encouragement from the very beginning of this process. Professor Thomas Kuehn‟s reading suggestions and colonialism course were invaluable and his overall enthusiasm and breadth of knowledge is inspirational. iv Table of Contents Approval ..................................................................................................................................... ii Abstract ..................................................................................................................................... iii Acknowledgements .................................................................................................................... iv Table of Contents ........................................................................................................................ v Introduction .............................................................................................................................. 1 Historiography ............................................................................................................................ 9 General Research on Egyptian Dance ................................................................................. 9 Works on Egyptian Female Performers in General and Egyptian Cinema .......................... 16 Women as Representative of the Egyptian Nation ............................................................. 19 Methodology ............................................................................................................................. 21 Chapter 1 Rendezvous with the Unknown: The Dancer and the “New Woman” of Egypt........................................................................................................................................ 25 Overview of Mawʿid maʿ al-Majhul .......................................................................................... 28 The status of dancers in Egypt ................................................................................................... 31 Women in the Pre-Nasser and Nasser Era .................................................................................. 32 A “Modern” Woman ........................................................................................................ 35 Nasser‟s “New Woman” ................................................................................................... 42 Samia Gamal ............................................................................................................................. 55 Conclusion ................................................................................................................................ 62 Chapter 2: Tamr Hinna and the Girl of the Country ............................................................. 64 Overview of the Film ................................................................................................................ 68 The Bint al-Balad and Naima Akif ............................................................................................ 69 Tamr Hinna as a bint al-balad .......................................................................................... 71 Naima Akif as a bint al-balad ........................................................................................... 75 The Egyptian Star System ......................................................................................................... 79 Awlad al-Balad versus Awlad al-Zawat ....................................................................................
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