Gender and Dance in Modern Iran: Biopolitics on Stage

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Cover Half Title Title Page Copyright Page Dedication Table of Contents List of figures Acknowledgment 1. Introduction A historical overview of the major performances and performance spheres Notes 2. The invention of an ideal female national dancer in twentieth-century Iran The dancing bodies of early nationalist plays and musicals National(ist) theatrical dances The biopolitics of the nationalist stage and the emergence of multiple dancing subjects Nationalism and prevailing trends in discourse on dance in the press National dancer in a comparative perspective Inventing national dance and an ideal female modern dancing subject Notes 3. Mutribs and their dancers: The counter-ideal performers of new Iran Mutribs and the earlier nationalists’ take on them The rise of Marxian practices and a systematic politically driven analysis of arts Arts for the new Iran, Dunya and Alavi’s initial propositions 1940s: The official era of activism of the Left Committed arts and their affect Mutribs and dancers as representatives of degeneration in the Lalehzar theaters Historical narratives of Lalehzar of the post-coup d’état Notes 4. The cabaret dancer in her quotidian life Dancers in the kafah (café) and cabaret settings Regulating the nightlife The cabaret dancer and her multiple dancing selves The cabaret dancer and her myth: an aspiration in the arts Presentation of real personas in the press Cabaret and its discourse Nocturnal economy: a bio-economy of amnesia Notes 5. Dancing bodies in pre-revolutionary films and the “enticing” reel cabaret dancer Screening performing artists Screening the dancing practices of contemporary social life Screening “staged” dancing bodies and their intradiegetic audience The cabaret dancer on the cinematic screen The transformation of the onscreen cabaret dancer The onscreen raqqas as a character Real “reel” dancers, off-screen power and onscreen roles The dancing body, a signifier of degeneration in commercial cinema Raqqas: a sensual body or a popular character? Notes 6. The dancing body in the anti-obscenity discourse of the Islamic press in pre-revolutionary Iran The dancing body in twentieth-century anti-obscenity discourse The societal affects of the erotic zones Othering and resistance in the anti-obscenity discourse Conclusion Notes 7. Harikat-i mawzun: The post-revolutionary Iranian theatrical dance Terms, themes, and performing subject in post-revolutionary Iranian theatrical dance The staged body in rhythmic movements Rhythmic movements as a committed art Rhythmic movements and staging religious and revolutionary themes Rhythmic movements under the correctional gaze Post-revolutionary counter-dance discourse Conclusion Notes 8. Dance, body, space, and subjectivity on the twentieth-century Iranian stage Notes Index