scholarly journals Ancient Persian Bronze Bells in the Museum of the Middle Eastern Culture Center in Japan

2007 ◽  
Vol 50 (2) ◽  
pp. 290-298
Author(s):  
Matahisa KOITABASHI
Keyword(s):  
Middle Eastern ◽  
Eastern Culture ◽  
Middle Eastern Culture

scholarly journals Pemikiran Abdurrahman Wahid tentang Pribumisasi Islam

2015 ◽  
Vol 3 (1) ◽  
pp. 39
Author(s):  
Ainul Fitriah
Keyword(s):  
Middle Eastern ◽  
Eastern Culture ◽  
The Core ◽  
Cultural Roots ◽  
Emergence Of Resistance ◽  
Local Cultures ◽  
Middle Eastern Culture

<p>This article explores the thought of “indigenization of Islam” of Abdurrahman Wahid’s. Indigenization of Islam is how the normative teachings of Islam as derived from God and it can be accommodated into the culture derived from human without losing its identity, respectively. As to Abdurrahmad Wahid or Gus Dur, Arabism (or process identifies with the Middle Eastern culture) would deprive us of his own cultural roots. More than that, Arabism is not suitable. Indigenization is not an effort to avoid the emergence of resistance of the power of local cultures, but instead that culture is not lost. The core of indigenization of Islam (Islamic natives) is not a necessity to avoid pillarization between religion and culture, because such polarization is not inevitable.</p>

scholarly journals Kismet: Hollywood, Orientalism and the Design Language of Padraic Colum’s Mogu of the Desert

2020 ◽  
pp. 175-192
Author(s):  
Elaine Sisson
Keyword(s):  
Popular Culture ◽  
Subject Matter ◽  
Middle Eastern ◽  
The Body ◽  
Early Years ◽  
Orson Welles ◽  
Eastern Culture ◽  
Design Language ◽  
Contemporary Film ◽  
Middle Eastern Culture

Abstract The lure of the exotic ‘other’ was implicit from the early years of the Gate’s repertoire. In 1931 the Gate produced Padraic Colum’s Mogu of the Desert, designed by Micheál mac Liammóir and featuring a young Orson Welles. Exploring Mogu uncovers a broader engagement with ‘exotic’ or oriental narratives at the Gate generally. The history and subject matter of Mogu contextualizes mac Liammóir’s fascination with oriental and Middle-Eastern culture within contemporary film. Archival photos illustrate how production stills copied the iconographic styling of film publicity using ‘film-star’ portraiture to promote the Gate. Orientalist narratives require the display of the body through the eroticization of costume – legitimizing the costumed body as a to-be-looked-at space. The Gate’s fascination with oriental settings enables the visibility of ‘transgressive’ sexualities as well as understanding the tastes and appeal of popular culture.

Meddah – turecki teatr jednego aktora. Spotkanie tradycji kultury ustnej z kulturą widowiskową

2020 ◽  
Author(s):  
Agnieszka Aysen Kaim
Keyword(s):  
19Th Century ◽  
Middle Eastern ◽  
Oral Traditions ◽  
Narrative Art ◽  
Eastern Culture ◽  
Active Model ◽  
Central Asian ◽  
Epic Theatre ◽  
Middle Eastern Culture ◽  
Contemporary Artists

The monograph explores performative potential of narrative art in oral traditions of Altai and Middle Eastern culture. Turkish meddah inspires contemporary artists, offering an active model, equal for both the artist and the audience. As an artistic form it developed between the 11th and 19th century. It unites epic theatre of one actor with the elements of tradition of a nomadic narrator, Central Asian shaman, epic singer ozan, Arabic maddah and the Persian tradition of the narrator of The Shahnameh.

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