Focusing on Egypt during the period 1760 to 1870, this book fills in some of the historical blanks for a dance form often known today in the Middle East as raqs sharki or raqs baladi, and in Western countries as "belly dance." Eyewitness accounts written by European travelers, the major primary source for modern scholars, provide most of the research material. The author shapes these numerous accounts into a coherent whole, providing a picture of Egyptian female entertainers of the period as professionals in the arts, rather than as a group of unnamed "ethnic" dancers and singers. Analysis is…mehr
Focusing on Egypt during the period 1760 to 1870, this book fills in some of the historical blanks for a dance form often known today in the Middle East as raqs sharki or raqs baladi, and in Western countries as "belly dance." Eyewitness accounts written by European travelers, the major primary source for modern scholars, provide most of the research material. The author shapes these numerous accounts into a coherent whole, providing a picture of Egyptian female entertainers of the period as professionals in the arts, rather than as a group of unnamed "ethnic" dancers and singers. Analysis is given of the contexts of this dance--that was a legitimate performing art form in Egyptian society appreciated by a wide variety of audiences--with a focus on actual performances--and a re-creation of choreography.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Kathleen W. Fraser has had a varied professional career encompassing: magazine publishing, foreign development, human rights education, employment equity, and the teaching of essay writing and dance history at the university level. Her dance-related writing has appeared in Dance Research Journal (reviews), Impulse magazine, the UCLA Journal of Dance Ethnology, and Canadian Dance: Visions and Stories (articles), and she has presented numerous papers at professional conferences held by Dance History Scholars, Conference on Research in Dance, and the International Bellydance Conferences of Canada. She lives in Ontario, Canada.
Inhaltsangabe
Table of Contents List of Illustrations Preface Section One: Background 1. On Writing This Book 2. Selected Egyptian History-the Study Period 3. Writers and Painters in Egypt from 1760 to 1870 Section Two: Setting the Stage 4. A Name for the Dance and a Name for the Dancer 5. The Low Reputation of Female Entertainers 6. The Geography of Going to the Show Section Three: Going to the Show-Professionals at Work 7. The Corporation of Female Singers-the Chanteuses 8. Identifying the Raqqâsin, Corporation 200 9. Identifying the Ghawâzî, Corporation 192 10. Male Performers-Dancers and Musicians Section Four: The Lives of Female Entertainers 11. Relationships with Various Groups in Egyptian Society 12. Professional Relationships with the Audience 13. Training 14. Economic Position of Female Entertainers Section Five: Biographies 15. Thirty-One Female Dancers and One Male Section Six: Gossip, Hearsay, Rumors and Myths 16. The Missing 'Awâlim 17. The Massacre of "The Four Hundred" 18. Banning the Dance in Muhammad Ali's Egypt 19. Myths of Origins of Female Dancers and Singers Section Seven: Building the Aesthetic of Performance 20. A Costume Benchmark Set by Edward Lane 21. The Musicianship of Dancers 22. The Aesthetic of Dance Movements Section Eight: Choreography and Performance 23. Six Choreographic Elements Basic to the Dance 24. Extending the Definition of Choreography 25. Three Identifiable Dances 26. Accessory Dances Epilogue Appendix One: Biographical Facts About Selected 18th-and Early 19th-Century Travel Writers and Artists Appendix Two: Travelers' Terms for Female Entertainers: Selected Passages by Date of Travel Chapter Notes Bibliography Index
Table of Contents List of Illustrations Preface Section One: Background 1. On Writing This Book 2. Selected Egyptian History-the Study Period 3. Writers and Painters in Egypt from 1760 to 1870 Section Two: Setting the Stage 4. A Name for the Dance and a Name for the Dancer 5. The Low Reputation of Female Entertainers 6. The Geography of Going to the Show Section Three: Going to the Show-Professionals at Work 7. The Corporation of Female Singers-the Chanteuses 8. Identifying the Raqqâsin, Corporation 200 9. Identifying the Ghawâzî, Corporation 192 10. Male Performers-Dancers and Musicians Section Four: The Lives of Female Entertainers 11. Relationships with Various Groups in Egyptian Society 12. Professional Relationships with the Audience 13. Training 14. Economic Position of Female Entertainers Section Five: Biographies 15. Thirty-One Female Dancers and One Male Section Six: Gossip, Hearsay, Rumors and Myths 16. The Missing 'Awâlim 17. The Massacre of "The Four Hundred" 18. Banning the Dance in Muhammad Ali's Egypt 19. Myths of Origins of Female Dancers and Singers Section Seven: Building the Aesthetic of Performance 20. A Costume Benchmark Set by Edward Lane 21. The Musicianship of Dancers 22. The Aesthetic of Dance Movements Section Eight: Choreography and Performance 23. Six Choreographic Elements Basic to the Dance 24. Extending the Definition of Choreography 25. Three Identifiable Dances 26. Accessory Dances Epilogue Appendix One: Biographical Facts About Selected 18th-and Early 19th-Century Travel Writers and Artists Appendix Two: Travelers' Terms for Female Entertainers: Selected Passages by Date of Travel Chapter Notes Bibliography Index
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