New PDF release: Colors of Enchantment: Theater, Dance, Music, and the Visual

By Sherifa Zuhur

ISBN-10: 1417522992

ISBN-13: 9781417522996

ISBN-10: 9774246071

ISBN-13: 9789774246074

During this significant other quantity to the profitable photographs of appeal: visible and appearing Arts of the center East (AUC Press, 1998), historian and ethnomusicologist Sherifa Zuhur has once more commissioned and edited authoritative essays from noteworthy students from worldwide that discover the visible and acting arts within the center East. What differentiates this quantity from its predecessor is its research of theater, from the early glossy interval to the modern. subject matters contain race and nationwide id in Egyptian theater, early writing within the Arab theater in North the United States, Persian-language theater from its origins during the 20th century, Palestinian nationalist theater, and a survey of the paintings of famous Egyptian playwright Yusuf Idris. different features of the humanities should not missed, after all, as additional avenues of dance, song, and the visible arts are explored. Marked via attention-grabbing and clean views, shades of appeal is one other important contribution to scholarship at the arts of the center East. individuals: Najwa Adra, Wijdan Ali, Sami Asmar, Clarissa Burt, Michael Frishkopf, M. R. Ghanoonparvar, Tori Haring-Smith, Kathleen Hood, Deborah Kapchan, Neil van der Linden, Samia Mehrez, Mona Mikhail, Sami A. Ofeish, 'Ali Jihad Racy, Rashad Rida, Tonia Rifaey, Edward stated, Lori Anne Salem, Philip D. Schuyler, Selim Sednaoui, Reuven Snir, James Stone, Eve Troutt Powell, and Sherifa Zuhur.

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Additional info for Colors of Enchantment: Theater, Dance, Music, and the Visual Arts of the Middle East

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Burnt-cork makeup brought it that much closer to home. There is also a wider context in which to consider blackface performances as well. " The blacks being caricatured were slaves in the American South, and the songs and dances that the minstrels performed obscured the realities of slaves' lives by "pretending that slavery was amusing, light, and natural" (Lott, 1993, p. 1). Even though many Americans found minstrel shows very entertaining, from its earliest days blackface minstrelsy provoked condemnation as a trivialization of slavery's wrongs.

Muhammad Abla's fish, frogs, and birds in his Nile series12)? Or even more directly in Salah Enani's, Attia Hussein's, or Said Hedaya's work? The Lebanese artists may no longer allude to the terrible hawadith ("civil 11 Featuring works by many artists including Hisham Nawar, Shady al-Noshakaty, David D'Agostino, Natheer El-Tanbouli, Muhammad Abou El Naga, Sherif and Silvie Defraoui, and Khaled Hafez. See "Contemporary Voices-Cairo's First Art Festival, alNitaq" and Nabil Ali, "In Two Words," Medina, 12, March-April, 2000, pp.

For Osman, this means persisting in his hope that Egyptians will treat him as a regular fellow, not just as a black-skinned Nubian. For certain characters, like Foda, treating Osman as an equal is conceptually impossible. This emerges as the plot thickens. Officer Foda is attracted to the sister of the doctor who examined Osman. Long before, in the Sudan, Osman saved this doctor's life. Moreover, Foda and Osman had met earlier on the night of the fourteenth, in Foda's own house. Foda wonders how he couldn't have realized at that time that Osman's face was black.

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Colors of Enchantment: Theater, Dance, Music, and the Visual Arts of the Middle East by Sherifa Zuhur

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