Egypt part II

Egypt part II - Egyptian Nationalism, Film, and...

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Egyptian Nationalism, Film, and International Belly Dancing Egypt Part II
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Administrative l Final Papers l Final Journals l Do you have 500 words per journal? l Extra credit days
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l Banned. Why? Officially prohibited among Egyptian Muslims Still practiced, although secretive l Still embraced as an integral element of baladi or folk heritage This is why we find elements of zaar in more modern forms of belly dancing: raqs baladi, raqs sharqi, and international belly dance. Practice of Zaar
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l Ghawazee – a hereditary class of professional female dancers in Egypt; more broadly a designation for all professional female dances in Egypt and throughout the Middle East Dancing in public was acceptable for authorities because they could gain revenue The Ghawazee Tradition
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Ghawazee in Muslim Egypt In Muslim Egypt, dancing in public in front of men was shameful and dancing for money reprehensible l “The word means ‘outsider’ or ‘invader,’ implying that in the Arab-Egyptian worldview, the female dancer who dance in the company of men for profit is a figure tied fundamentally to foreignness, to marginality, to aggressive intrusion” (Bakan, 262). Term only applied to women Men danced too Before controversy, it was a legitimate way to make a living
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“Purely” Egyptian music l Egyptian nationalistic themes Western-influenced Arab music that drew upon symbolic images and musical and choreographic resources of Egyptian folk music and devotional song. l Examples? Raqs sharqi and international belly dance
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Sayyid Darwish l Pioneered a “new” Egyptian music that became identified with Egyptian nationalism l Established a new aesthetic ideal for Egyptian music Asil
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This note was uploaded on 11/07/2011 for the course MUH 2051 taught by Professor Dr. during the Spring '08 term at FSU.

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Egypt part II - Egyptian Nationalism, Film, and...

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