By Sherifa Zuhur
During this better half quantity to the profitable photographs of attraction: visible and acting 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 all over the world that discover the visible and acting 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. 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 elements of the humanities usually are not overlooked, after all, as extra avenues of dance, song, and the visible arts are explored. Marked by means of attention-grabbing and clean views, colours of attraction is one other 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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Additional info for Colors of Enchantment: Theater, Dance, Music, and the Visual Arts of the Middle East
Umda: That's right, effendi. His father is Sudanese, son of a Sudanese [next word illegible in the text]. Doctor: Interesting. Well, then, we have the right to conscript him. Osman: And I have the right to exemption. (Sidqi, 1920, p. 6) Osman's body is then weighed and inspected, much to his horror. Once clothed in uniform, however, his identity within the Egyptian army still appears strange to the other characters, as one officer named Foda says after watching Osman fumbling with equipment and military parlance.
Lutfi's work introduces female Coptic-doll figures that are encased in brilliant red and turquoise bars. This differs from the earlier treatment of women's figures by Inji Efflatoun, or Mahmud Said's elegant yet rounded "Dancer with Takht" (1949) or "Banat Bahari" (1937). Lutfi has some important contributions to make to the debate over the utility of art. Viewing art as meditation or as a means of exploring history and as education for the soul are three different and important themes mentioned in the interview we have included (see ch.
12 Mohamad Abla, Der Nil 1998. Exhibit catalogue. Cairo: Goethe Institute, 1998. 16 Colors of Enchantment war"), as in Ginane Bacho's "Image of the Word: The Image of the Picture" (1985 and included in Images of Enchantment), but can they attract buyers without specific social and historical allusions? One motif that Wijdan Ali has explored and discussed elsewhere is the use of calligraphy as a graphic form in art. She uses calligraphy boldly in her own work, as do many other artists, including Huda Lutfi.