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by Mary M. Doi

Free eBook Gesture, Gender, Nation: Dance and Social Change in Uzbekistan download ISBN: 0897898257
Author: Mary M. Doi
Publisher: Praeger (November 30, 2001)
Language: English
Pages: 168
Category: Social Sciences
Subcategory: Social Sciences
Size MP3: 1296 mb
Size FLAC: 1452 mb
Rating: 4.3
Format: docx mobi lrf lit


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Gesture, Gender, Nation:.

Request PDF On Nov 1, 2004, Jane Desmond and others published Gesture, Gender, Nation: Dance and Social .

Journal of American Folklore 11. 64 (2004) 236-237 In Gesture, Gender, Nation, Mary Masayo Doi draws from classic anthropological literature, dance scholarship, and practice theory to explain the role of dance in the formation of a national identity in Uzbekistan from the early Soviet period. 64 (2004) 236-237 In Gesture, Gender, Nation, Mary Masayo Doi draws from classic anthropological literature, dance scholarship, and practice theory to explain the role of dance in the formation of a national identity in Uzbekistan from the early Soviet period through the present. She argues that Soviets used dance as a tool of social change, unifying the republic's diverse ethnic groups while altering Muslim women's traditional roles through dance training and performance

Gesture, Gender, Nation book.

Gesture, Gender, Nation book. The national dancers of Uzbekistan are almost always female  . Doi concludes with a comparative discussion of the power of marginality, which enabled Uzbeks to maintain a domain where Uzbek culture and history could be honored, within the Russocentric hegemony of the Soviet state.

Mary M. Doi. The national dancers of Uzbekistan are almost always female

Mary M. In a society that has been Muslim for nearly seven hundred years, why and how did unveiled female dancers become a beloved national icon during the Soviet period? Also, why has their popularity continued after the Uzbek republic became independent? The author argues that dancers, as symbolic ''girls'' or unmarried females in the Uzbek kinship system, are effective mediators between extended kin groups, and the Uzbek nation-state

oceedings{Doi2001GestureGN, title {Gesture, Gender, Nation: Dance and Social Change .

oceedings{Doi2001GestureGN, title {Gesture, Gender, Nation: Dance and Social Change in Uzbekistan}, author {Mary Doi}, year {2001} }. Mary Doi. Prologue Introduction Gender, Kinship and Nationalism Taboo Breakers: The Early Soviet Years (1924-1942) The War Years: "We Made Dance a Beautiful Diamond" (circa 1943-1953) From Genealogical to Generic (circa 1954-1990) Independence (1991-1994) Conclusion: "It is We Who Own Uzbekistan Now!" Bibliographic Note on Dance Index. In a society that has been Muslim for nearly seven hundred years, why and how did unveiled female dancers become a beloved national icon during the Soviet period? Also, why has their popularity continued after the Uzbek republic became independent? The author argues that dancers, as symbolic ''girls'' or unmarried females in the Uzbek kinship system, are effective mediators between extended kin groups, and the Uzbek nation-state

Doi describes the politics of gender in households as well as the dominant kinship idioms in Uzbek society. She traces the rise of national dance as a profession for women during the Soviet period, prior to which women wore veils and kept purdah.

Doi describes the politics of gender in households as well as the dominant kinship idioms in Uzbek society. The final chapter examines emerging notions of Uzbek, as regional and national groups contest the notion through debates about what constitutes authentic Uzbek dance.

Published online by Cambridge University Press: 27 January 2017. Recommend this journal.

Gesture, Gender, Nation: Dance and Social Change in Uzbekistan. ISBN 13: 9780897898256. Publication Date: 11/30/2001. Help your friends save money!

The national dancers of Uzbekistan are almost always female. In a society that has been Muslim for nearly seven hundred years, why and how did unveiled female dancers become a beloved national icon during the Soviet period? Also, why has their popularity continued after the Uzbek republic became independent? The author argues that dancers, as symbolic girls or unmarried females in the Uzbek kinship system, are effective mediators between extended kin groups, and the Uzbek nation-state. The female dancing body became a tabula rasa upon which the state inscribed, and reinscribed, constructions of Uzbek nationalism.

Doi describes the politics of gender in households as well as the dominant kinship idioms in Uzbek society. She traces the rise of national dance as a profession for women during the Soviet period, prior to which women wore veils and kept purdah. The final chapter examines emerging notions of Uzbek, as regional and national groups contest the notion through debates about what constitutes authentic Uzbek dance. Doi concludes with a comparative discussion of the power of marginality, which enabled Uzbeks to maintain a domain where Uzbek culture and history could be honored, within the Russocentric hegemony of the Soviet state.