SEEING THE BELLY DANCE AS A FEMINIST POSSIBILITY: GAZE, GENDER AND PUBLIC SPACE IN ISTANBUL

Isil Egrikavuk

doi:10.22456/2236-3254.110694

Abstract

This paper discusses the ancient form of belly dance as an example to speak more in depth about the public spaces of Istanbul, where the female body is constantly under surveillance by the male gaze. Over thousands of years, the ancient dance form of belly dance has been transformed from a collective women’s ritual to a form of entertainment that serves the male gaze. This paper looks for the possibilities tore-define belly dance as a feminist counter strategy to revive its essence. Framed by the Muted Group Theory, this paper also exemplifies various artworks and strategies produced by female artists and analyze them in the light of this theory. It also searches for redefining the belly dance as part of a feminist identity and asks whether these artistic strategies could be pathways in re-defining belly dance as a feminist practice. KeywordsFeminism. Public Space. Belly Dance. Muted Group. Gender.

Highlights

In many places around the world, it is a battle for women to move in public spaces without being subject to the gaze of men
My goal in this paper is to lay out the power dynamics created by gender hierarchies in public spaces, and show how women have been muted in public space through the gaze of men
As a feminist practice and look for answers to overcome the general view that the dance is a way of entertainment that serves the male gaze

Summary

Introduction

In many places around the world, it is a battle for women to move in public spaces without being subject to the gaze of men. Ardener talks about how women throughout history have been muted in different segments of social life; Eğrikavuk // Seeing the Belly Dance as a Feminist Possibility: Gaze, Gender and Public Space in Istanbul. In the current framework of Istanbul, I want to ask whether an artistic strategy that involves dance, body and the female body may connect women from different class and ages to cena their empowerment, and challenge these control mechanisms in public spaces created by men. The devaluing of belly dance in the Middle East to me seems like a major example of repressing women’s expression of sexuality, energy, and fertility In this case, the muting does not take place on the level of language, but on the body. What will it take to reverse such fake contexts and put them back into their place?

Muted Group Theory today and possibilities of collectivity

Findings

Conclusion