Movement as Culture: Dance in the Middle East, North Africa, and the DiasporaMain MenuMovement as CultureAn Introduction to the CourseMoving to the Gulf, Arabizing Bollywood: The Evolution of Bollywood Dance as it relates to Indian Labor Migration to the Arab GulfSplashBreakin' & Bolstering Cultural Norms: Breakdancing's Role in Contemporary Moroccoby Rose GelfandContemporary Copts and Dance in Egypt: Ethnicity, In/Visibility and Nationalismby Demiana IbrahimPalestinian Dabkeh and Nationalism: An Inquiry into the Israeli Claim to Indigenous Dance FormsA Historical Analysis of the Colonial Response to Powerful Devadasi and Ouled Naïl Dancers During the First Half of the 20th centuryAcknowledgementsWe worked closely with many library partners in developing this project and warmly thank them for their critical contributionsBiographiesProf. Meiver De la Cruz3773975702a12986e98f9c5f47cf866ad997d3f8Naiti Bhattf4d687a674a5002408f10e5819e1299f48441993Rose Gelfandceb56d07ee22e6e4cb6ce128db14425724c1ec43Demiana Ibrahim8ff5d38ae5f27bd0ec3653590ea03fb6425c5d1aBinita Pandyacb57cdb287e13fd28b80deb9c47234c7e4d5a762Katalina R Petersonabf30c9024456720ba45f6039f90c501b11103a2
A Historical Analysis of the Colonial Response to Powerful Devadasi and Ouled Naïl Dancers During the First Half of the 20th century
1media/IMG_6683.jpgmedia/IMG_6683.jpg2019-10-10T20:55:49+00:00Binita Pandyacb57cdb287e13fd28b80deb9c47234c7e4d5a76223115by Binita Pandyaimage_header2019-12-08T22:50:28+00:00Leigh Anne Lieberman6d50006ee8ed7c3f79ca48a7780ef2c27a99cb3fThis project is focused on examining the response of British and French colonial powers to female dancers in the regions of Algeria and India during the first half of the 20th century. The dancers studied in this project include the Devadasis from India and the Ouled Nail from Algeria. Along with studying images and the actual dance form of these dancers, their lives after colonialism will be studied through this project. Both groups of dancers share similarities from their liminal position in society and their association with sexuality to their ability to independently earn a living through their dance form. The respective colonial forces arrived in both regions not too far apart from one another and their response to these women was quite similar in nature. Both colonial groups sought to strip these women of their art form through legislative and economic policies. These policies will be documented via a timeline of key events. While examining the actual events that transpired during this time period, this project will also develop a collective framework as to how dancers have been viewed historically and their historic correlation with sexuality and prostitution. This framework will be connected back to this case study throughout the project. On a deeper level, this project will look to the motives of these attacks on female dancers. By examining these motives, this project will argue that fear of powerful women was the primary driving force behind these legislative and economic actions and the attempted erasure of these dancers.
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1media/3.jpg2019-10-09T22:50:56+00:00Prof. Meiver De la Cruz3773975702a12986e98f9c5f47cf866ad997d3f8Movement as CultureLeigh Anne Lieberman8Dance in the Middle East, North Africa, and the Diasporabook_splash111802019-12-10T15:23:03+00:00Leigh Anne Lieberman6d50006ee8ed7c3f79ca48a7780ef2c27a99cb3f
1media/3.jpg2019-12-08T21:59:01+00:00Leigh Anne Lieberman6d50006ee8ed7c3f79ca48a7780ef2c27a99cb3fMovement as CultureLeigh Anne Lieberman12An Introduction to the Courseplain111802019-12-10T15:33:48+00:00Leigh Anne Lieberman6d50006ee8ed7c3f79ca48a7780ef2c27a99cb3f