Images of Enchantment: Visual and Performing Arts of the Middle East PDF
Preview Images of Enchantment: Visual and Performing Arts of the Middle East
IMAGES OF ENCHANTMENT This page intentionally left blank Visual and Performing Arts of the Middle East Edited by Sherifa Zuhur The American University in Cairo Press Copyright © 1998 by The American University in Cairo Press 113, Sharia Kasr el Aini Cairo, Egypt. 420 Fifth Avenue New York, NY 10018-2729 http://\v\v\v. aucpress. com Second printing 2000 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the copyright owner. Dar el Kurub No. 11371/97 ISBN 977 424 467 2 Printed in Egypt CONTENTS Acknowledgments ix A Note on Transliteration x Introduction Sherifa Zuhur 1 Dance: Tradition and Transformation 1 Changing Images and Shifting Identities: Female Performers in Egypt Karin van Nieuwkerk 21 2 Women's Performance in Ritual Context: Weddings Among the Rashayda of Sudan William Young 37 3 Folk Music and Dance in the Arabian Gulf and Saudi Arabia Kay Hardy Campbell 57 4 A Procession through Time: The Zaffat al-cArusa in Three Views Carolee Kent and Marjorie Franken 71 History, Memory, and Reimaging in Middle Eastern Music 5 Asmahan: Arab Musical Performance and Musicianship under the Myth Sherifa Zuhur 81 6 Performance, Political Identity, and Memory: Umm Kulthum and Gamal cAbd al-Nasir Virginia Danielson 109 7 Western Classical Music in Umm Kulthum's Country Selim Sednaoui 123 8 The Music of Arab Americans: Aesthetics and Performance in a New Land Anne Rasm ussen 135 9 Beyond the Performance Simon Shaheen 157 Contemporary Painting: Subject and Frame 10 Gender and Politics in Contemporary Art: Arab Women Empower the Image Salwa M. Nashashibi 165 11 The Artist's Voice Chaibia Talal 183 12 Imagery and Invention: Sudanese at Home and in the World Conversations with Mohamed Omer Bushara and Musa Khalifa SondraHale 187 Political and Gendered Imagery in Film 13 Image and Experience: Why Cinema? Farida Ben Lyazid 205 14 Victims or Actors? Centering Women in Egyptian Commercial Film Sherifa Zuhur 211 15 Iranian Cinema under the Islamic Republic HamidNaficy 229 16 Reverse Imagery: Middle Eastern Themes in Hollywood Rebecca Stone 247 17 Farida Fahmy and the Dancer's Image in Egyptian Film Marjorie Franken 265 18 Terrorism and Kabab: A Capraesque View of Modern Egypt Walter Armbrust 283 Bibliography 301 Notes on Contributors 377 Index 319 Illustrations following page 182 This page intentionally left blank ACKNOWLEDGMENTS It would be difficult to thank adequately all those who inspired this volume, following a trail back from the American University in Cairo Press to my mother, who showed me that musical performance is a way of life, and my father, who taught me how to read libretti with a flashlight and a snack in the top balcony at the opera, like a 'real Italian.' Let me begin by thanking members of the American University in Cairo Press—Pauline Wickham and Mark Linz for their commitment to this project, Toby Macklin for his hard work on the manuscript, Neil Hewison, and the reviewers of this volume for their comments and suggestions. Marjorie Anne Franken shared in the generative stages of this project when we originally began work some years ago. I badgered her into agreeing to serve as coeditor, but my relocation from California to Egypt precluded this arrangement. However, she served at various crucial points as a very important communications link for many of our globally disparate authors, and was an integral part of our initial development of the ideas linking the various contributions. The other authors have been equally gracious in sharing their work and time with me. As with all edited collections, there are many other scholars whose work could not be included for reasons of timing or space. Acknowledgments are due to Salwa Nashashibi and Sondra Hale for their help in obtaining the reproductions, the artists for their permissions to reprint, and William Young for the photograph of the Rashayda. I want to thank Dean Joseph F. Sheley, Vice President and Provost Jolene Koester, and Professor Rita Cameron-Wedding of California State University, Sacramento, for allowing me an extended leave of absence. ix
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