Gender and Dance in Modern Iran: Biopolitics on Stage investigates
the ways dancing bodies have been providing evidence for competing
representations of modernity, urbanism, and religiosity across the
twentieth century. Focusing on the transformation of the staged
dancing body, its space of performance, and spectatorial cultural
ideology, this book traces the dancing body in multiple milieus of
performance, including the Pahlavi era's national artistic scene
and the popular cafe and cabaret stages, as well as the commercial
cinematic screen and the post-revolutionary Islamized theatrical
stage. It links the socio-political discourses on performance with
the staged public dancer, in order to interrogate the formation of
dominant categories of "modern," "high," and "artistic," and the
subsequent "othering" of cultural realms that were discursively
peripheralized from the "national" stage. Through the study of
archival and ethnographic research as well as a diverse literature
pertaining to music, theater, cinema, and popular culture, it
combines a close reading of primary sources such as official
documents, press materials, and program notes with visual analysis
of filmic materials and imageries, as well as interviews with
practitioners. It offers an original and informed exploration into
the ways performing bodies and their public have been associated
with binary notions of vice and virtue, morality and immorality,
commitment and degeneration, chastity and eroticism, and
veiled-ness and nakedness. Engaging with a range of methodological
and historiographical methods, including postcolonial, performance,
and feminist studies, this book is a valuable resource for students
and scholars of Middle East history and Iranian studies, as well as
gender studies and dance and performance studies.
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