Abstract: The colonial expansion, under the guidance of orientalist ideologies, employed the feminization and sexualization of "primitive cultures" as one of its legitimating tools of domination. This paper discusses how colonization necessitated the sexualization of the colonized, leaving lasting marks in the contemporary cultural portrayals-through sanitized dance forms propagated by post-colonial societies. The following work explores, through the example of belly dance, how colonial narratives reconstituted cultural practices into the pejorative, recontextualizing them within an articulation of Eurocentric modesty, propriety, and gender roles. The theoretical perspective is that Orientalism represents one of many methodologies for the objectification of culture whereby the East was the passive "Other" to the rational, active West. The colonial constructions of sex and gender maintained the patriarchal hierarchies, inscribing on a paradigm wherein the cultures of the feminized were constructed as inferior and needing Western intervention. This paper traces these patterns through the historical shifts-including that of the erasure of several of Egypt's folk dances, which were condemned and marginalized under the guise of modernization. The analysis shows how the contemporary post-colonial societies carry these imprints in the rebranding of the traditional dances into signs of national identity, sanitized from their subversive and embodied histories. This fact underlines that colonial mechanisms leave their impact on cultural articulation-skewed toward historical dehumanization, feminization, and sexualization that self-perpetuate in the contemporary art and identity narratives.
Nitya Rao (Wed,) studied this question.