By Nicholas Rowe
Dance in Palestine has a historical past as advanced and contentious because the land itself. no matter if brushed aside as bacchantic insanity by way of Bible travelers within the nineteenth Century, revived and glorified by way of Zionists, Pan-Arabists and Palestinian Nationalists within the twentieth Century, or rejected by means of Islamic Reformists within the twenty first Century, dance in Palestine has a wealthy and elusive tale that continues to be to be informed. elevating airborne dirt and dust lines one dancer’s trip into Palestine’s earlier and current. via ancient files, the thoughts of dancers of yesteryear and into today’s shiny acting arts scene, Nicholas Rowe exhibits how dance has acted as a barometer of social switch, a discussion board for debate and a method of expressing forbidden principles. faraway from apolitical, this so much actual of artwork types has usually outlined the political temper of the day. Sumptuously illustrated, the writer offers a special, infrequent and compelling cultural background of dance in Palestine.
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Additional info for Raising Dust: A Cultural History of Dance in Palestine
Sample text
This in turn might indicate that these performances were not just undertaken by peripheral members of the community and disapproved of by the community as a whole. The level of commitment that the local community invested in such performances highlights the economic and social value accorded to this probably part-time occupation. While it may be argued that such dances were only performed publicly in Palestine at this time by people in a lower socio-economic class, such examples display a precedent in Palestine of women publicly performing dance in groups that predates any imitation of the West.
These social participatory dances had been adapted as performances for tourists, to provide a representation of local culture. This representation process does not appear to be part of a coordinated political campaign; instead it seems very localized and designed simply to trade on tourist curiosity. Adaptations may have been based on suggestions from foreign observers (such as opening the circle into a semi-circle so that viewers could see the dance better without having to participate themselves), but these changes are presumably not attempts by the dancers to emulate foreign dance productions that they had personally observed.
Local indigenous cultural activity was generally viewed as a decaying remnant of a more glorious ancient past, and the writers’ accounts read as frustrated attempts to reconcile the local indigenous culture with imaginings of a biblical lifestyle. This led to the notion of a stagnant indigenous culture in Palestine, which became more entrenched through the work of anthropologists at the start of the twentieth century. 1 Following the principles of such ‘salvage’ anthropology,2 the indigenous culture was perceived as previously immobile and suddenly faced the risk of oblivion.