Choreographing Hypermasculinity in Egypt, Iran, and Uzbekistan

Authors

Anthony Shay, Pomona CollegeFollow

Document Type

Article

Department

Dance (Pomona), Theatre (Pomona)

Publication Date

2008

Keywords

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

Abstract

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.

Rights Information

© 2008 Informa UK Limited, an Informa Group Company

Terms of Use & License Information

Terms of Use for work posted in Scholarship@Claremont.

DOI

10.1080/01472520802118400

Recommended Citation

Shay, Anthony. “Choreographing Hypermasculinity in Egypt, Iran, and Uzbekistan,” Dance Chronicle 31, no. 2 (Autumn 2008), pp. 211-238. doi: 10.1080/01472520802118400