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Dance, Mysticism, and Sensuality Perspectives from T Ajikist An

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Dance, Mysticism, and Sensuality Perspectives from T Ajikist An UNIVERSITY OF HAWAI'I LIBRARY DANCE, MYSTICISM, AND SENSUALITY PERSPECTIVES FROM T AJIKISTAN A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAW AI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN DANCE MAY 2007 By Sonja Hinz Thesis Committee: Judy Van Zile, Chairperson Marcia Sakamoto Wong Tamara Albertini We certifY that we have read this thesis and that, in our opinion, it is satisfactory in scope and quality as a thesis for the degree of Master of Arts in Dance. THESIS COMMITTEE LAL~ r~ Chairperson ~~~.b~4 ----=--=------\\,= II HAWN II CBS .H3 II no. 34L-fQ II 11 © 2007 Sonja Hinz 111 ACKNOWLEDGEMENTS I would first like to acknowledge the profound hospitality of those I met in Tajikistan and thank them for their sincere warmth, time, and energy. I would also like to thank my fiance, Andrew Rick, with whom I shared all these experiences, for his many insights and constant support. Robyn Friend directed me to Tajikistan in the first place, and I am very grateful for all the advice and contributions she has made to this research. I would like to acknowledge The Christensen Fund, who made the Tajik Dance Initiative a reality, and Sharlyn Sawyer, for her role in this project. In presenting my research, my thesis committee's support and encouragement have been a blessing. IV TABLE OF CONTENTS I . Acknowledgements ...................................................... tv Ltst. 0 fF·tgures .......................................................... IX. A Note on Translations and Transcriptions ....................................xi Guide to Accompanying DVD ............................................ xiv Chapter One: Introduction ................................................. l Statement of Purpose ............................................... 5 Methodology. .. 6 Definitions ....................................................... 10 Literature Review ................................................. 15 Dance: History and Overview ....................................... 19 Chapter Two: Badakhshan ............................................... 25 Research and Performance Context ................................... 28 Land ........................................................... 35 Moving through the landscape ................................. 39 Poetry and Music ................................................. 43 Madoh singers as mystics and Sufis ............................ .44 Madoh as a basis for spiritual aesthetics ......................... .46 Dance in Badakhshan .............................................. 48 The status of professional dancers .............................. 51 A gift from God-the role and healing function of dance ............ 55 Types of dance ............................................. 57 v Raqsi semo (skylheaven dance) .......................... 59 Aesthetics of Rapo ................................................ 61 Zarb. charkh, repetition, and lateral symmetry .................... 62 ~ ...................................................... 70 Music, heart, and mast equal kalf . .............................. 74 Like water flowing .......................................... 79 Summary: aesthetics of rapo ..................................81 Dance and Poetry: Specific Examples ................................. 82 Raqs; Tabaqcha ............................................ 82 Raqs; A.lp ................................................. 87 Summary: A mystical land ......................................... 98 Chapter Three: Dushanbe ............................................... 102 Research and Performance Context .................................. 106 "Independent" Theater Padida ................................ 108 Working with the government ................................ 111 Television and concerts ...................................... 114 Environment .................................................... 117 Secular Islamic nationalism .................................. 117 The machine .............................................. 119 Poetry and Music ................................................ 121 Pop reigns ( and pays) ....................................... 123 Classical, national shashmaqam ............................... 125 Dance in Dushanbe ............................................... 127 VI The official perspective: dance equals culture (and both are ancient and spiritual) ............... "., . , , , , , , .. , , 129 The official perspective: the "gender issue" ...... , , . , , . , , . , , . , , . , 131 Dancers' status: low class occupation because of sex and money. , , . , 133 Dance's role: healing, national identity, distraction or escape from problems, .... , , . , ..... , . , , . , , . , , . , , . , , .138 Aesthetics, . , , . , , , , , , , , , , , . , , . , , . , , ............... , , . , , . , , , , , . , , 140 Charkh, plaslica, zarb, repetition, and lateral symmetry ....... , .. , , 141 The beauty of the feminine body (noz)., , ., , ., , " , " "" " ... ,. ,145 Dancing with heart and feeling (his) to become the character (obraz) . ,148 Regional and national identity-the representation of land in costuming ... , . , , , , , . , , . , , , , .. , , . , , , , , . , ........ , , . , 151 Summary---dance aesthetics in Dushanbe. , . , , . , .. , , . , , . , ... , . , , 154 Dance and Poetry: Specific examples, , .............. , . , , . , , , , , , , , , , . 155 Kulobi dance to Gulamoy. , , . , , . , , .. , . , , , , , . , , .. , . , , . , , . , ... .156 Shashmaqam and the munojot Qurbonat Manam ",."., ......... 162 Summary: Secular spiritualism and feminine coquetry , .. "."., ........ ,174 Chapter Four: Summary and Discussion. , . , , . , , , , , , , , , , , . , , . , , , , . , , . , , ..... 178 Sensuality as a bridge to a mystical or spiritual experience, , , . , , . , , . , ..... 182 Dance, poetry, and mystical I slam, ........ , .. , , . , , . , , . , , . , , . , , . , , . , , 184 Roles of the Beloved, the mystic, and gender, . , , , . , , , , , . , , . , , . , , 188 The emotional power of dance, kinesthetic empathy, and communication. , , . ,192 Afterword, . , , . , , . , , . , , . , , . , , . , , . , , , , , . , , . , , , , , . , , .. , .. , ...... , .... , . , 197 Vll Appendix A: Poetry Transcriptions and Translations .......................... 200 Raqsi Tabaqcha . ................................................ 201 Raqsi Asp ......................................................202 Gulamoy ....................................................... 207 Qurbonat Manam ................................................ 209 Appendix B: Floor Plans of Selected Dances ...... " ........................ 211 Raqsi Tabaqcha . ................................................ 212 Gulamoy . ...................................................... 214 Qurbonat Manam ................................................ 217 Appendix C: People Referred to in Thesis .................................. 220 Glossary ............................................................. 222 References Cited .......................................................225 Discography .................... , ...............................234 Videography .................................................... 234 VIll LIST OF FIGURES All photographs and figures have been created by the author, unless noted. Figure: 1. Map of Tajikistan .............................................. 2 2. Map of Badakhshan ... , ........................................ 27 3. Exterior view of a traditional Pamiri home .......................... 31 4. Skylight in a traditional Pamiri home .............................. 32 5. Interior of a traditional Pamiri home ............................... 32 6. Nadir Delovarov dancing at Ali Akbar's ............................ 33 7. Zuhro Matramova dancing in Ishkashim ............................ 33 8. A couple dancing in one of the oldest houses in Ishkashim ..............34 9. Bartang Valley ................................................ 36 10. Ghund Valley ........................ '" ...................... 36 11. Hillside in Bartang Valley ....................................... 41 12. Zarb, basic footwork variation found in Ishkashim .................... 64 13. Zarb, basic footwork with right foot consistently on the beat ............ 64 14. Charkh with focus on the horizontal movement of the arms ............. 66 15. Charkh with focus on the inward pulling movement of one arm ......... 67 16. Noz, a shy glance ...............................................71 17. Noz, vibrating hands ............................................73 18. "Height picturesque" sequence from Raqsi Tabaqcha ..................84 19. "Eyebrows black" sequence from Raqsi Tabaqcha . ................... 85 20. Oyatsho and Qimatgul perform Raqsi Asp . ......................... 89 IX 21. Folding and extending the arms in Raqsi Asp . ........................92 22. Rearing horse's head in Raqsi A ~p ................................. 97 23. Ismail Somoni monument in downtown Dushanbe ................... 103 24. The hovering camera ........................................... 114 25. A Gulrez dancer performing for the camera ......................... 116 26. The author getting ready to perform for the camera ................... 116 27. A lahonoro dancer demonstrating her plastica ....................... 143 28. The author and the long sleeves of a Kulobi dance costume ............ 157 29. One variation of Kulobi shoulder shrugs and wrist movements ......... 158 30. A
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