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