Womens Dance Traditions Of Uzbekistan

The first comprehensive work in English on the three major regional styles of Uzbek women's dance – Ferghana, Khiva and Bukhara – and their broader Silk Road cultural connections, from folklore roots to contemporary stage dance. The book surveys the remarkable development from the earliest manifestations in ancient civilizations to a sequestered existence under Islam; from patronage under Soviet power to a place of pride for Uzbek nationhood. It considers the role that immigration had to play on the development of the dances; how women boldly challenged societal gender roles to perform in public; how both material culture and the natural world manifest in the dance; and it illuminates the innovations of pioneering choreographers who drew from Central Asian folk traditions, gestures and aesthetics – not Russian ballet – to first shape modern Uzbek stage dance. Written by the first American dancer invited to study in Uzbekistan, this book offers insight into the once-hidden world of Uzbek women's dance.

The first comprehensive work in English on the three major regional styles of Uzbek women's dance – Ferghana, Khiva and Bukhara – and their broader Silk Road cultural connections, from folklore roots to contemporary stage dance. The book surveys the remarkable development from the earliest manifestations in ancient civilizations to a sequestered existence under Islam; from patronage under Soviet power to a place of pride for Uzbek nationhood. It considers the role that immigration had to play on the development of the dances; how women boldly challenged societal gender roles to perform in public; how both material culture and the natural world manifest in the dance; and it illuminates the innovations of pioneering choreographers who drew from Central Asian folk traditions, gestures and aesthetics – not Russian ballet – to first shape modern Uzbek stage dance. Written by the first American dancer invited to study in Uzbekistan, this book offers insight into the once-hidden world of Uzbek women's dance.

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.

"Exciting and fascinating, this reference work succeeds in its goal of bringing "joy as well as enlightenment" about all forms of dance in all countries of the world. An extremely useful synoptic outline of contents" with nine sections (including "Ritual and Religion" and "Popular Entertainment") enables the user to explore dance in its cultural and social aspects, while topical essays complement the 2,000-plus entries. Heavily illustrated with black-and-white photographs, the encyclopedia captures the fluid movement of dance; with its depth and scope, this outstanding work has carved a well-deserved niche."--"Outstanding Reference Sources: the 1999 Selection of New Titles," American Libraries, May 1999. Comp. by the Reference Sources Committee, RUSA, ALA.

"Winner of the National Bestseller and Book of the Year prizes in Russia, The Dancer from Khiva, is the unflinchingly honest, deceptively plainspoken memoir of Bibish, a Central Asian woman who came of age in a rigidly Islamic village in Uzbekistan. In a narrative that flows like a late-night confession, Bibish recounts her story. Born into an impoverished family, she was named 'Hadjarbibi' in honor of her grandfather's pilgrimage to Mecca. The holy name, however, did not protect her from unspeakable abuse at the hands of the men in her village. She knew instinctively to keep her experience a secret rather than risk further punishment, but soon her love for Uzbeki dancing - prohibited by Islamic custom - caused her to be beaten by her brothers and ostracized from her community. Dreaming of freedom, Bibish fled. The Dancer from Khiva is a testament to her fierce will and courage: the searing, fast-paced tale of a woman who risked everything to follow her dreams, break her culture's silence, and tell her shocking story."--BOOK JACKET.

Focuses on women and the civilizations and societies in which Islam has played a historic role. Surveys all facets of life (society, economy, politics, religion, the arts, popular culture, sports, health, science, medicine, environment, and so forth) of women in these societies.

Arranged alphabetically by country and using a standard entry format for easy comparison, this volume provides an overview of each country's shared values, behaviors, and cultural variations.