A4 Vertaisarvioitu artikkeli konferenssijulkaisussa
Hips don't lie? Affective and kinesthetic dance ethnography
Tekijät: Laukkanen A
Toimittaja: Dunin, EI; Foley, CE
Konferenssin vakiintunut nimi: Symposium of the International Council for Traditional Music Study Group on Ethnochoreology
Julkaisuvuosi: 2014
Kokoomateoksen nimi: Dance, place, festival - 27th symposium of the ICTM study group in ethnochoreology 2012
Tietokannassa oleva lehden nimi: DANCE, PLACE, FESTIVAL - 27TH SYMPOSIUM OF THE ICTM STUDY GROUP IN ETHNOCHOREOLOGY 2012
Aloitussivu: 118
Lopetussivu: 123
Sivujen määrä: 6
ISBN: 978-1-905952-53-3
Tiivistelmä
The Egyptian style of belly dancing is often characterised in terms of music making. The dancer's most important skill is the emotional interpretation of music, which is sometimes referred to as creating or expressing "Egyptian feeling". In this paper, I discuss the affective and kinesthetic ways of knowing in a transnational space created by belly dancing. What kind of knowledge is available to one who gets moved by music and dance? Taking a feminist post-colonial position, I also ask how does Egyptian music and feeling move differently positioned subjects. I rely on ethnographic field work that I conducted among belly dancers in Finland (1999-2006) and Egypt (2006). I argue that affective and kinesthetic ethnography is a method through which one is able to trace the constant changes and points of fixation in the relationship between sameness and difference.
The Egyptian style of belly dancing is often characterised in terms of music making. The dancer's most important skill is the emotional interpretation of music, which is sometimes referred to as creating or expressing "Egyptian feeling". In this paper, I discuss the affective and kinesthetic ways of knowing in a transnational space created by belly dancing. What kind of knowledge is available to one who gets moved by music and dance? Taking a feminist post-colonial position, I also ask how does Egyptian music and feeling move differently positioned subjects. I rely on ethnographic field work that I conducted among belly dancers in Finland (1999-2006) and Egypt (2006). I argue that affective and kinesthetic ethnography is a method through which one is able to trace the constant changes and points of fixation in the relationship between sameness and difference.
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