Saturday, September 25, 2010
Tuesday, September 7, 2010
FALL CLASS SCHEDULE
CLS 230.1 Beginning Level: Fri., 3:30-4:25 p.m. (AB)
CLS 231.1 Intermediate Level: Fri., 1:30-3:25 p.m. A, B
CLS 232.1 Advanced Level: Fri. 4:30-5:25 p.m. (AB)
Tuesday, September 14th 8:00am - Friday, October 1st 11:59pm
In-Person Registration at Coles Sports Center:
Tuesday, September 14th 8:00am-1:00pm and 4:00-8:00pm
Wednesday, September 15th 12:00pm-8:00pm
Thursday, September 16th 12:00pm-8:00pm
If you have any questions at all, feel free to contact me:
Saturday, September 4, 2010
Wednesday, September 1, 2010
Kuchuk dances the Bee. First, so that the door can be closed, the women send away Farghali and another sailor, who up to now have been watching the dances and who, in the background, constituted the grotesque element of the scene. A black veil is tied around the eyes of the child, and a fold of his blue turban is lowered over those of the old man. Kuchuk shed her clothing as she danced. Finally, she was naked except for a fichu which she held in her hands and behind, which she pretended to hide, and at the end, she threw down the fichu. That was the Bee. She danced it very briefly and said she does not like to dance that dance. Joseph, very excited, kept clapping his hands: ‘La, eu, nia, oh! Eu, nia, oh!’ Finally, after repeating for us the wonderful step she had danced in the afternoon, she sank down breathless on her divan, her body continuing to move slightly in rhythm. One of the women threw her her enormous white trousers striped with pink, and she pulled them on up to her neck. The other two musicians were unblindfolded. (117)
Another dance. A cup of coffee is placed on the ground. She dances before it, then falls on her knees and continues to move her torso, always clacking the castanets, and describing in the air a gesture with her arms as though she were swimming. That continues, gradually, the head is lowered, she reaches for the cup, takes the edge of it between her teeth, and then leaps up quickly with a single bound.( 118)
Of particular interest to me in this article, was the relation of a “scopophilic” gaze. Flaubert keeps drawing a wider net, according to Karayanni. This is true for all Imperialists seeking to “understand” landscape in a grander sense, and by attaching what he knows to a “larger context” (such as antiquity and the “knowledge” of the “West”), the Imperialist dominates and “knows” the subject more than the subject knows itself. Intellectual “Context,” having the resources and ambition to put “the Orient” into a wider or Western context becam a form of domination. Interesting.
Back to the dance aspects, Karayanni ends again with choreography. Her movements gave both men the option to be transformed by what they saw, where determined to see, as the anti-Western, native or savage side of Egyptian society. Flaubert succumbed and dismissed his emotions in a letter to Louise Colet and obsessed about Kuchuk Hanem for years. Curtis wrote that he had resisted fully succumbing to her power in order to assert his superiority. Her image remained in Flaubert’s “Salammbo,” “Herodias,” and the figure of Salome.
Karayanni, Stavros Stavrou. “Dismissal Veiling Desire.” Ch. 4 in Belly Dance: Orientalism, Transnationalism, and Harem Fantasy. Eds., Anthony Shay and Barbara Sellers-Young. Mazda Publishers, 2005.
Also his own book:
Stavrou Karayanni, Stavros (2004), Dancing Fear & Desire: Race, Sexuality and Imperial Politics in Middle Eastern Dance, Wilfred Laurier University Press, ISBN 0889204543