By Sherifa Zuhur
During this better half quantity to the winning photographs of attraction: 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 appearing arts within the heart East. What differentiates this quantity from its predecessor is its research of theater, from the early sleek interval to the modern. themes comprise race and nationwide identification in Egyptian theater, early writing within the Arab theater in North the USA, Persian-language theater from its origins throughout the 20th century, Palestinian nationalist theater, and a survey of the paintings of famous Egyptian playwright Yusuf Idris. different facets of the humanities should not ignored, after all, as additional avenues of dance, track, and the visible arts are explored. Marked through fascinating and clean views, colours of attraction is one other very important contribution to scholarship at the arts of the center East. participants: 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 acknowledged, Lori Anne Salem, Philip D. Schuyler, Selim Sednaoui, Reuven Snir, James Stone, Eve Troutt Powell, and Sherifa Zuhur.
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Extra resources for Colors of Enchantment: Theater, Dance, Music, and the Visual Arts of the Middle East
1995-98, p. 60),14 four books of essays, and countless columns for Al-Ahram newspaper and other fora. Idris's early work was and is tremendously popular and well received, due to his powerful literary abilities to create convincing characters, and fictional worlds to treat a huge range of personal, social, political, and economic issues in a sensitive and insightful manner. His plays from the late 1950s and 1960s are considered among his best, culminating with his best-known and most popular Farafir in 1966.
There are close parallels yet also sharp divisions between the performance of 'Ali al-Kassar and those of Ghana and the United States just described. Like the blackfaced actors in Ghana, 'Ali al-Kassar performed for a colonized audience. As in the Ghanian theater, he performed in an environment where the meanings attached to race were very different from those in America. S. culture, 'Ali al-Kassar made his black character, Osman, a symbol of heartfelt Egyptian nationalism. In important ways, however, this homegrown quality of Osman's distinguishes this character from other traditions of minstrelsy.
Ali alKassar in blackface in Abu Nuwas. Theaters of Enchantment 'Ali al-Kassar's earlier original comedies, this study examines the complicated way in which 'Ali alKassar and his writers fused the issues of racial and national identity. In many of the plays, both British and Egyptian officials question or tease Osman about his black skin and his racial origins. In his protests against British indignities, Osman's Nubian identity becomes a conduit through which Egyptians could express anger at British racism.