English (United Kingdom)
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Salomè. The myth and the Seven Veil’s Dance.  Ordina adesso

Maria Strova
De Angelis Art

Synopsis

When Oscar Wilde wrote Salome, he named – without describing it – the Dance of the Seven Veils. This happy absence of any code of movement has allowed choreographers, directors and dancers to imagine – each one according to their own talents – a dance with infinite possibilities. Among the artists who have tackled the character of Salome and her dance, particularly those who have used the languages of theatre and cinematography, many have thoroughly explored the relatively hidden themes in the myth, and many, including the most innovative versions and the most daring experimentations, have succeeded at highlighting a variety of aspects.

This book, published after years of study of Salome’s character as represented in written texts, images, film, theatre and cinema, is unique in its approach. The author is first and foremost a dancer, and by virtue of her art, she has been able to explore the themes and the myth of Salome by personally experiencing, with her own skin and her own sweat, that inner world, so rich and controversial, that makes Salome a female archetype without parallel: hated but fundamental, condemned and yet indispensible for breaking the rules that continue to constrain women who, rendered mute and unable to express themselves before Herod’s lustful gaze, are depicted by a porno-chic culture that deprives women and dancers of an authentic sexual experience.

In the author’s conception, Salome embodies the myth of reappropriation of the body and the desire that is liberated through dance. Viewed in this manner, the Dance of the Seven Veils is an invitation to venture a personal point of view, a telling of the story that is new every time since, as Strova has written, “every woman has her own Dance of the Seven Veils to perform”.

The author “has dedicated her artistic and intellectual research to dismantling certain stereotypes that encumber representations of women and dancers […]” (P. Veroli, 2011). She offers us instruments for reflecting on the feminine condition in every era, and on the social constraints that forbid women to abandon the role of the passive concubine and prevent them from freely expressing themselves. She invites us to look at Belly and Veil Dancing in a new, participatory and conscientious way.