Choreographing Hypermasculinity in Egypt, Iran, and Uzbekistan

Document Type



Dance (Pomona), Theatre (Pomona)

Publication Date



Iran, Egypt, Uzbekistan, state‐supported dance, hypermasculine, homosexuality, choreographic erasure


In the latter half of the twentieth century, individual choreographers and government agencies made several attempts to create “proper” images for male dancing bodies for the state-sponsored dance companies of Egypt, Iran, and Uzbekistan and their teaching institutions. The creation of these new, hypermasculinized choreographic forms was related to pressures from both colonial administrations and the newly emerging, postcolonial, Westernized elites and middle classes to counter negative historical stereotypes of male dancers in these regions.

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