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Articles 1 - 13 of 13
Full-Text Articles in Arts and Humanities
A Rainbow Of Iranian Masculinities: Raqqas, A Type Of Iranian Male Image, Anthony Shay
A Rainbow Of Iranian Masculinities: Raqqas, A Type Of Iranian Male Image, Anthony Shay
Pomona Faculty Publications and Research
In this essay, I will explore the male dancer in the Iranian world, and how he came to occupy this abject position (dance, according to Zainab Stellar, being regarded by many conservative elements in Iranian society today as "the worst possible behavior of an undisciplined body in public, and symbol of all vice" (2011, 235)). Lotfollah “Lotfi” Mansouri, the renowned opera director and producer, recounted at a dinner that I attended (January 27, 2002 Peyvand Organization, San Jose), how one day as a student at UCLA, he entered Schonberg Music Hall and heard opera for the first time. He was …
Encountering Greek American Soundscapes, Anthony Shay
Encountering Greek American Soundscapes, Anthony Shay
Pomona Faculty Publications and Research
For this chapter I will look at Greek American music making through the eyes of a non-Greek, my younger self, who enjoyed and sought out this musical tradition for over fifty years, primarily as a folk dance enthusiast. For the international recreational dancer of the 1950s, 1960s and 1970s, Greek music has rich melodic lines and many different rhythmic patterns (5/8; 7/8; 9/8, etc.) that attracted many individuals of Anglo American background like me to learn these dances, especially in the 1950s, 1960s, and 1970s when recreational and performance folk dance constituted a major leisure-time activity for hundreds of thousands …
Reviving The Reluctant Art Of Iranian Dance In Iran And In The American Diaspora, Anthony Shay
Reviving The Reluctant Art Of Iranian Dance In Iran And In The American Diaspora, Anthony Shay
Pomona Faculty Publications and Research
In this chapter, I look at the various ways in which different individuals--Iranians, Iranian immigrants in the West, Americans, and other non-Iranians--participated in several revival Iranian dance movements, beginning in the 1930s and continuing into the twenty-first century. The new interest in dance that began in this period coincided with a period of incipient modernity and its need to find ways in which to construct a modern national identity. As increasing numbers of Iranians made their way to the West, first as students and ultimately as immigrants and refugees, they discovered that dance as a representational field dovetailed with their …
Dance And Human Rights In The Middle East, North Africa, And Central Asia, Anthony Shay
Dance And Human Rights In The Middle East, North Africa, And Central Asia, Anthony Shay
Pomona Faculty Publications and Research
In this essay, Islam itself is first examined in order to determine how individual Muslims justify to themselves and to others the banning of dancing in various contexts. Following a brief discussion of Islam as it relates to dance, some of the myriad dance genres and contexts found in the Middle East, North Africa, and Central Asia are discussed. Finally, I consider the many ways in which many Muslims perceive dance, and then describe and analyze the local reactions to dancing in its complexity. This approach elucidates multiple meanings that create a pattern of behavior within specific cultural contexts.
Natural History And Indigenous Worldviews, Paul Faulstich
Natural History And Indigenous Worldviews, Paul Faulstich
Pitzer Faculty Publications and Research
Beliefs about the relationship between humans and the natural environment are expressed through worldviews. A worldview is a mechanism system or complex of ideas through which the world makes cultural sense. As deeply seated belief systems, worldviews illuminate the ecological priorities and concepts of various peoples.
Dancing Boys, Anthony Shay
Dancing Boys, Anthony Shay
Pomona Faculty Publications and Research
The informal, and occasionally formal, institution of the dancing boy--the term used by most Western writers in their descriptions of the Islamic world--has been attested for centuries by European observers throughout the Middle East, North Africa, and Central Asia, as well as the Indian subcontinent and throughout the Islamic areas of Southeast Asia such as Indonesia and the southern Philippines. These individuals have been called by a variety of names: bachchec [batcha], literally "child" in Persian and some Turkish languages, luti (itinerant performer), raqqas (dancer) in many regions, kocek (little) and tavsan (rabbit) in Ottoman Turkey, khawal in …
Beloved, Anthony Shay
Beloved, Anthony Shay
Pomona Faculty Publications and Research
The "beloved" forms a central literary concept, highly developed during the medieval Islamic period and still popular in our own times, in the urbanized societies of the Middle East and Central Asia. Encountered throughout the literatures of Persian, Ottoman, and Chaghatay (Uzbek) Turkish, Urdu, and Arabic, among others, this concept manifests itself through highly charged, homoeroticized images and metaphors. The beloved is characterized through such highly eroticized and theatrical tropes of wanton allurement as disheveled locks, torn garments, intoxication symbolized by a wine cup in hand, and appearing at the bedside of the feverish lover. (See, for example, the poems …
Danse Du Ventre, Anthony Shay
Danse Du Ventre, Anthony Shay
Pomona Faculty Publications and Research
Danse du ventre (also called belly dance or danse orientale) most probably derived its name from one or both of two sources: (1) a corruption of the Arabic raqs al-baladi, meaning "dance from the countryside," and (2) a reference to the highly developed movement articulations of the torso and abdomen, which are the most characteristic movement practices of this widespread dance genre. Arabs outside Egypt often call it raqs al-sharq ("Oriental dance") or raqs al-misri ("Egyptian dance"), underscoring the widespread notion that this dance tradition originated in ancient Egypt. No historical documentation exists for the origins of …
Arabian Peninsula, Anthony Shay
Arabian Peninsula, Anthony Shay
Pomona Faculty Publications and Research
The regional dances of the vast but sparsely populated peninsula that includes Saudi Arabia, the Gulf states and emirates, and Yemen are--due to political, religious, economic, and other reasons of access--among the least studied. Historically, the gulf region is one of the most ancient marketplaces, with traders from India, Mesopotamia, Africa, and the Arabian hinterland meeting here for centuries. Influences from all these groups may be discerned in the dancing.
Afghanistan, Anthony Shay
Afghanistan, Anthony Shay
Pomona Faculty Publications and Research
A very conservative Islamic country, Afghanistan lies on the eastern edge of the Middle East, to the west of Pakistan and India. Afghanistan is at the confluence of Iranian, Central Asian, and Indian cultural currents, and most groups within Afghanistan have ethnic ties across the borders. Indian elements are the least felt, but the rhythmic footwork of some solo dancing is highly reminiscent of classical Indian traditions. A variety of ethnic and linguistic groups, each with its own choreographic tradition, reflects Afghanistan's enormous cultural diversity. Its dance traditions, however, are scarcely documented. As in most Islamic countries, dancers are paid …
Lebanon, Anthony Shay
Lebanon, Anthony Shay
Pomona Faculty Publications and Research
In many respects, Lebanon is unique among the Arab states of the Middle East, and this uniqueness is reflected in its dance traditions, particularly in the number of professional performances given. Lebanon is a country more urban than rural, although most residents of Beirut, its capital, have some village relations or associations. Because the nation is small, no village is more than a few miles from Beirut or from such urban centers as Sidon or Tripoli. Lebanon's population is highly educated, and nomads (bedouins) account for only a miniscule percentage. The country's many religious groups and sects--mainly Christian and Islamic--seem …
Kurdish Dance, Anthony Shay
Kurdish Dance, Anthony Shay
Pomona Faculty Publications and Research
The Kurds are a nomadic people whose homeland (Kurdistan) and population (of some 10 million) are now divided among mountainous rural regions of Syria, Turkey, Iran, Iraq, and Armenia; small numbers live in Israel and the Republic of Georgia, (and a separatist movement is headquartered in Paris, France). They speak an Iranian (a Persian) language, and some believe them to be the descendants of the ancient Medes. Without a state of their own, the Kurds place great importance on such cultural forms and identity markers as dancing.
Iran, Anthony Shay
Iran, Anthony Shay
Pomona Faculty Publications and Research
As the locale for one of the oldest continuing cultural, linguistic, and ethnic entities, Iran provides archaeological evidence for dance portrayed on Mesopotamean pottery dated to 5000 BCE (Zoka', 1978). Evidence for continuing choreographic activity is documented in the historical writings of foreigners, from biblical times to ancient Greece to the Persian and Ottoman empires. Iconographic artworks showing dance also exist, such as silver objects from the Sasanian period (224-650 CE) and Persian miniatures from the twelfth century. Iran is, and most likely has always been, a place of immense ethnic and linguistic diversity, a continental crossroad open to influences …