<abstract xmlns="http://www.w3.org/1999/xhtml"><p>How people move and appear in public spaces is a reflection of the cultural, religious and socio-political forces in a society. This article, built on an earlier work titled ’Site-Specific Dance: Women in the Middle East’ (2016), addresses the ways in which dance in a public space can support the principles of freedom of expression and gender equality in Tunisia. I explore the character of public space before, during, and after the Arab Spring uprisings. Adopting an ethnographic and phenomenological approach, I focus on the efforts of two Tunisian dancers – Bahri Ben Yahmed (a dancer, choreographer and filmmaker based in Tunis, who has trained in ballet, modern dance and hip hop) and Ahmed Guerfel (a dancer based in Gabès, who has trained in hip hop) – to examine movement in a public space to address political issues facing the society. An analysis of data obtained from Yahmed and Guerfel, including structured interviews, videos, photos, articles and e-mail correspondence, supports the argument that dance performed in public spaces is more effective in shaping the politics of the society than dance performed on the proscenium stage. Definitions and properties of everyday choreography, site and the proscenium stage are analysed, along with examples of site-specific political protest choreography in Egypt, Turkey and Tunisia. I engage with the theories of social scientist Erving Goffman, which propose that a public space can serve as a stage, where people both embody politics and can embody a protest against those politics.</p></abstract>

How people move and appear in public spaces is a reflection of the cultural, religious and socio-political forces in a society. This article, built on an earlier work titled ’Site-Specific Dance: Women in the Middle East’ (2016), addresses the ways in which dance in a public space can support the principles of freedom of expression and gender equality in Tunisia. I explore the character of public space before, during, and after the Arab Spring uprisings. Adopting an ethnographic and phenomenological approach, I focus on the efforts of two Tunisian dancers – Bahri Ben Yahmed (a dancer, choreographer and filmmaker based in Tunis, who has trained in ballet, modern dance and hip hop) and Ahmed Guerfel (a dancer based in Gabès, who has trained in hip hop) – to examine movement in a public space to address political issues facing the society. An analysis of data obtained from Yahmed and Guerfel, including structured interviews, videos, photos, articles and e-mail correspondence, supports the argument that dance performed in public spaces is more effective in shaping the politics of the society than dance performed on the proscenium stage. Definitions and properties of everyday choreography, site and the proscenium stage are analysed, along with examples of site-specific political protest choreography in Egypt, Turkey and Tunisia. I engage with the theories of social scientist Erving Goffman, which propose that a public space can serve as a stage, where people both embody politics and can embody a protest against those politics.

«Get in Your Theatres; the Street is Not Yours»: The Struggle for the Character of Public Space in Tunisia

Nordic Journal of Dance

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

How people move and appear in public spaces is a reflection of the cultural, religious and socio-political forces in a society. This article, built on an...

«Get in Your Theatres; the Street is Not Yours»: The Struggle for the Character of Public Space in Tunisia

Published Online: Sep 29, 2020

Page range: 54 - 69

DOI: https://doi.org/10.2478/njd-2017-0012

© 2017 Heather Harrington, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.