Participant Observation: Middle Eastern Dance in Stockholm

Author(s):  
Karin Högström
2019 ◽  
Vol 37 (1) ◽  
pp. 1-17 ◽  
Author(s):  
Ainsley Hawthorn

This article traces the historical background of the term ‘belly dance’, the English-language name for a complex of solo, improvised dance styles of Middle Eastern and North African origin whose movements are based on articulations of the torso. The expression danse du ventre – literally, ‘dance of the belly’ – was initially popularised in France as an alternate title for Orientalist artist Jean-Léon Gérôme's 1863 painting of an Egyptian dancer and ultimately became the standard designation for solo, and especially women's, dances from the Middle East and North Africa. The translation ‘belly dance’ was introduced into English in 1889 in international media coverage of the Rue du Caire exhibit at the Parisian Exposition Universelle. A close examination of the historical sources demonstrates that the evolution of this terminology was influenced by contemporary art, commercial considerations, and popular stereotypes about Eastern societies. The paper concludes with an examination of dancers' attitudes to the various English-language names for the dance in the present day.


2021 ◽  
Vol 3 ◽  
Author(s):  
Nina Sahraoui ◽  
Elsa Tyszler

By bringing together two sets of qualitative fieldwork conducted in 2016 and 2017 with humanitarian organizations and migrant women on the two sides of the Eastern Moroccan-Spanish border, this article examines the ways in which women humanitarians exercise power over women’s lives, bodies and mobility. Though humanitarianism in the border context has been researched at European and United States-Mexico borders, the specifically gendered implications of humanitarian governance at borders needs further investigation. Drawing on interviews and participant observation with a religious humanitarian organization on the Moroccan side of the border and with medical humanitarians and social workers on the Spanish side, we researched women humanitarians’ interventions toward migrant women from West African, North African and Middle Eastern countries. Beyond the differences that characterize these religious and socio-medical humanitarian settings and the different migration regimes in which they are inscribed, we argue that the power exerted by women humanitarians reproduces a form of maternalism underpinned by gendered moral beliefs regarding women’s bodies, mobility and family life. We foreground that such maternalism represents a cornerstone of women’s humanitarian engagement across time and we identify continuities between colonial maternalism, contemporary forms of humanitarian care carried out by women and maternalist integration politics in Western postcolonial societies. Rooted in colonial maternalism, racialized beliefs justified women’s (religious, medical, social) prominent role in intervening in the intimate spaces of women casted as radically Other. Our contemporary case studies demonstrate how the practices of women humanitarians impact on racialized migrant women’s daily lives, intruding on their intimacy, imposing controls over their bodies and impacting on their possibilities for mobility. The article explores how the racialization of migrant women, articulated with moral ideas around women’s reproductive health and mothering responsibilities, produce varied forms of disciplining and control on both sides of the border Moroccan-Spanish border.


2006 ◽  
Vol 38 (1-2) ◽  
pp. 137-162 ◽  
Author(s):  
Anthony Shay

Within this quotation the reader may find a rich description of historical and even contemporary Middle Eastern attitudes toward dance and male dancers in particular, penned from a native point of view. In this article I address those attitudes, but more importantly challenge several cherished, long-held assumptions and theoretical stances expressed by native elites and Westerners interested in Middle Eastern dance and dancers. First, I challenge the romantic views that many gay men hold that the presence of male dancers and the sexual interest expressed toward them by Middle Eastern men somehow constitutes evidence for an environment accepting of homosexuality and a Utopian gay paradise, where the possibility of unbridled sexual congress with handsome, passionately out-of-control Arabs, Persians, and Turks exists. Thus, they crucially confuse gay or homosexual identity with homosexual activity or behavior. Because of this confusion, I use an important aspect of queer theory that counters “the monolithic alternative of liberationist gay politics” (Bleys 1995, 7) to look at the phenomenon of professional male dancers in a somewhat grittier, more realistic light. In particular, I refer to Stephen O. Murray's groundbreaking article, “The Will Not to Know” (1997, 14–54) which establishes a valuable lens through which to view how the vast majority of Middle Eastern individuals regard homosexual acts.


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