By Barbara Sellers-Young
This e-book examines the globalization of stomach dance and the designated dancing groups that experience developed from it. The historical past of abdominal dance has taken position in the worldwide move of sojourners, immigrants, marketers, and travelers from the 19th to the twenty-first century. often times, the dance is transferred to new groups in the gender normative constitution of its unique situation in North Africa and the center East. abdominal dance additionally has turn into a part of well known culture’s Orientalist infused discourse. The final result of this discourse has been a world revision of the solo dances of North Africa and the center East into new genres which are nonetheless a part of the bigger stomach dance neighborhood yet are particular in shape and which means from the dance as practiced inside of groups in North Africa and the center East.
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Extra info for Belly Dance, Pilgrimage and Identity
Racy expands on this concept of enchantment and describes tarab as a transformational experience of ecstasy: The nuances and connotations of the word tarab as commonly used today are consistent with the concept of ecstasy as explained in standard English sources. Accordingly, ecstasy, like tarab, implies experiences of emotional excitement, pain or other similarly intense emotions, exaltation, a sense of yearning or absorption, feeling of timelessness, elation or rapturous delight. Moreover, the term ecstasy tends to fit the various conditions associated with tarab as a transformative state, for example those connected with intoxication, empowerment, inspiration, and creativity.
SELLERS-YOUNG contained rhythms of her walk” (1980: 22). In Gioseffi’s rendition of the dance and the mythology she evolved for it, the men look on in awe and the women with reverence as they see in the movement an image of the primordial mother goddess as she drops to the floor and, with a series of belly rolls and stomach flutters, mimes giving birth. She raises herself from the floor and the audience communes with her in an appreciation of the sensuality and strength of a woman’s body. In this mythic depiction’s focus on woman as life-giver, Daniela’s performance celebrated the potential of a woman’s body to discover and express the joy of the relationship between the internal kinaesthesia of the spirals and circles of the pelvis and spine that move from inward experience to outward projection, from individual self-discovery and revelation to a political statement via the performance of her body’s sensuality.
As Egypt has historically been the focal point of the entertainment industry in North Africa and the Middle East the styles, forms and aesthetics developed there are broadcast throughout these regions and changes in performance styles in Egypt have a significant impact. Egypt became the film and entertainment centre of the Middle East shortly after motion pictures were invented in the late 1890s. “The first EGYPT: PLACE OF PILGRIMAGE, PLACE OF HOME 25 cinema theatre opened in 1900, and by 1911 there were eight theatres in Cairo and three in Alexandria, all showing American and European films” (Fraken 1998: 266).
Belly Dance, Pilgrimage and Identity by Barbara Sellers-Young