Her mixture of performing repertoire — belly-dance called raqs-e arabi , in the Persian language , and Persian dance is essentially the same today as in that year-old video. In a recent performance at Cabaret Tehran, for example where she has performed frequently over the past 17 years , she began her set with raqs-e arabi to a well-known Egyptian composition, wearing a standard cabaret costume of pink and silver. Weaving her way through the audience, she played with them, dancing on chairs and tables, making them laugh.
She returned to the stage and spoke to the audience in Persian, welcoming them, expressing the wish that they have a good time, and telling a few jokes, some of them about herself. The rest of her costume was unchanged. What is this all about? Whatever its origins and meanings, it is always a big hit with the Iranians in the crowd Americans are always completely perplexed by it!
Local, informal constabularies were formed to protect each town or village. After the constitutional revolution in Iran, Iranian traditional performing arts — dance in particular — fell out of favor with many Iranians. This was due to the desire to imitate not only western-style democracy, but also to adopt western-style culture, as though the latter could help bring about the former.
Persian dance was looked upon as a degenerate art form — the province of prostitutes — and decidedly inferior to western forms of dance, such as ballet.
Whether you like her dancing or not, Jamileh is important as either a social reformer, rehabilitating Persian dance and making it acceptable for Iranian audiences, or as a reflection of an increasing acceptance of Iranian traditional arts.
Today Jamileh performs in cabarets in Los Angeles and elsewhere. She mainly played dance-related roles in more than 25 films, including roles in Zan-i Vahshi-i Vahshi , Dukhtar-i Zalim Bala , and 'Arus-i Pabirahnah She was reportedly the highest-paid cabaret actor of Iranian origin in , and performed for prominent foreign guests including Henry Kissinger and Aristotle Onassis.
After fleeing Iran, Jamileh continued her dancing career in Los Angeles, California, where she now resides. She performed frequently at the Cabaret Tehran in Los Angeles for more than 20 years and through her fifties.
Although dancers like Mahvash and Afat first introduced the belly dance and other Persian folk dances in Iranian cinema, Jamileh was responsible for popularizing a version of the dance in Iran through her performances and film roles. According to Ida Meftahi, a historian specializing in modern Iranian history, Jamileh was not associated with the image of a stereotypical cabaret dancer in the media, but the image of "a valuable artist" that was likely improved with the help of her husband's influence.
Khordad- ian came out around It is a very dif- ferent situation. Gay people were called Eva Khahar. All of a sudden, you could dance like a girl without being bul- lied. Because you took the role of the funny guy, just like Siah or motreb, yet remained in, or protected by, the closet.
HR We also should add yet another level to all of this. Baba Karam is a tough guy in a white shirt, with a black hat, moustache, and a knife. He relates to motreb culture and motreb troupes, so you could hire him the same way. She made Baba Karam popular among women, feminising the moves while retaining the tough-guy attitude.
This dance is still popular with women today. RaH Again, all this happened before RoH Jamileh and Khordadian both come out of the cabaret culture that originated with the motreb street troupes. With the modernisation of Iran from the 20s on, the motreb performers moved from the streets to the cabarets. This is the context and the culture from which Khordadian also comes, and it goes a long way towards explaining a big part of his popularity. He knew how to seduce and captivate an audience.
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