By Anthony Shay (auth.)
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Extra info for The Dangerous Lives of Public Performers: Dancing, Sex, and Entertainment in the Islamic World
Sample text
Many dancers were born into the profession, others were slaves who were trained by their owners, and in both cases the process could start very early. Paridion (“little Paris”), probably a slave who died in Side at the age of 5, is described on his tombstone as an orchestes (dancer), which suggests that he was already able to perform to some extent” (2008, 54). In Ottoman Turkey, the performance of dancing boys (köçek) “was a refined form of art involving mime, acting, singing and dancing . 3 Typical for most of the eras and societies under consideration here, the dancing boys’ careers typically end “when they lose their looks and their beards grow” (And 1976, 141).
When I speak of general attitudes toward performers or toward sexuality and gender roles in these historical periods, it is important to emphasize that certain genres of performance, like mime, had continuity, at least into the Middle Ages, and in diverse languages and guises. Some forms of mime continued into the twentieth century, while other genres, such as pantomime dancing, so popular during Imperial Rome, lasted six centuries as the apex of Roman performance genres, and when its specific contexts—cultural, economic, and religious—no longer existed, it, like Rome itself, died out.
A late nineteenth-/early-twentieth-century Qajar princess, Taj alSaltaneh, gives voice to the majority public opinion concerning the public entertainer, in this case a young dancer. This opinion continues today as evidenced by the Islamic Republic of Iran’s ban on all forms of professional dancing, as well as dancing at private parties: That night ‘Abdi Jan’s troupe had been called so that the harem occupants could watch the show. Of course, you remember ‘Abdi well. Let me, nonetheless, give you a description of his looks.