By Stavros Stavrou Karayanni

all through centuries of eu colonial domination, the our bodies of center japanese dancers, female and male, circulate sumptuously and seductively around the pages of Western trip journals, evoking wish and derision, admiration and disdain, attract and revulsion. This profound ambivalence varieties the axis of an research into center jap dance—an research that extends to modern abdominal dance.

Stavros Stavrou Karayanni, via ancient research, theoretical research, and private mirrored image, explores how center japanese dance actively engages race, intercourse, and nationwide identification. shut readings of colonial trip narratives, an exam of Oscar Wilde’s Salome, and analyses of treatises approximately Greek dance, exhibit the difficult ways that this arguable dance has been formed by means of Eurocentric versions that outline and keep watch over identification functionality.

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I wish, however, to challenge the complacency and test the brittle balance of masculinity through epistemic gestures. My dance attempts the same. Colonial Definitions of Acceptable Performance 18 Introducing Colonial and Postcolonial Dialectics on the Subject of Dance Performing Theory The history, or rather histories, that I have attempted to outline here are crucial in providing the context in which my body registers its presence in this project. In this endeavour I occupy the position of reader as much as writer since I do not feel represented by the production of contemporary political discourse on the “Cyprus problem” and issues of ethnicity and national identity.

I do not seek to emulate a quest for origins and authenticity (such a search is Dora Stratou’s main concern as I discuss Performing Theory 20 Introducing Colonial and Postcolonial Dialectics on the Subject of Dance in the final chapter), and I cannot refurbish an unspoiled or “authentic” rendition of this dance. This does not mean erasing, defacing, or exploiting it mercilessly but exploring the complex struggles through which it has survived down to me and through which it has afforded me a means of expression and deliverance.

When he assumes a teaching position at the Pancyprian Gymnasium in Nicosia, his class register reminds him of the Dramatis Personae in an ancient Greek play with names such as Electra, Io, Chloe, Penelope, and Yiolanthi (130). Significantly, Durrell is careful not to indulge in the same romanticization over boys’ names, a gesture that would immediately brand him as a Sotadic lover and thereby denigrate him to the lowest native class. 21 This was the discriminating gaze of the British that played a crucial part in inculcating the Turkish Cypriot and Greek Cypriot ethnic dichotomy in the people’s collective imagination.

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