20.500.12556/ReVIS-7903 Iskanje ženske identitete skozi prakso orientalskega plesa feministični pogledi Luce Irigaray študijskega programa druge stopnje Človek veliko časa svojega življenja posveča iskanju samega sebe. Svoj osebni proces samoiskanja, ki je vezan na specifičen položaj, ki ga imam v družbi kot ženska, sem poglobila in na novo definirala skozi prakso orientalskega plesa. Orientalski ples je ples druge kulture – kulture Bližnjega vzhoda, vendar je skozi zgodovino postal univerzalen, ker se ga učijo in ga plešejo ženske po vsem svetu, od Amerike na zahodu, Finske na severu ter Kitajske in Japonske na vzhodu. Zakaj takšna popularnost in razširjenost po vsem svetu? Naša (zahodna) kultura in vzgoja od ženske zahtevata, da v vsakdanjem življenju sprejme številne vloge. Vse te vloge − od vloge matere, gospodinje, ljubice do vloge zaposlene ženske – ji jemljejo energijo in čas. Ženska v sodobni (slovenski) družbi pogosto trpi zaradi preobremenjenosti, ki je posledica neenakopravne delitve gospodinjskega dela − ženska opravi več gospodinjskega dela kot moški, sočasno pa je aktivna v službi in gradi kariero1 , zaradi česar ji zmanjkuje časa, da bi se posvečala samorealizaciji. S tem, ko ženske okrepijo svoj odnos do lastnega telesa, postanejo samozavestnejše in bolj odprte v komunikaciji do okolice. S tem procesom na nek način odkrivajo del svoje osebnosti in telesne prvinskosti. V magistrski nalogi potrdim, da ženskam, ki plešejo orientalski ples, slednje odpre nove dimenzije sprejemanja sebe kot subjekta in kot ženske v družbi. To naredim skozi analizo intervjujev z desetimi orientalskimi plesalkami v Sloveniji, s katerimi sem se pogovarjala o doživljanju in sprejemanju orientalskega plesa. Pri svojih razlagah črpam pojme iz feministične teorije Luce Irigaray in njene razprave o mnogoterosti in subjektivizaciji spola. Mnogoterost ženske identitete se v življenju oblikuje skozi različne vloge. Avtorica pravi (1985), da je ženska identiteta večplastna in izmuzljiva, pri tem pa poudarja, da nas v resnici ne bi smela zanimati končna oblika, torej identiteta kot fiksen pojav, temveč proces izgradnje oziroma nastajanja različnih identitetnih pozicij. Analiza intervjujev s plesalkami pokaže, da moramo žensko identiteto razumeti kot mnogoteri pojav − kot polje prepletanja različnih vidikov in mnenj, ki pa imajo neka skupna stičišča. A significant amount of time in a person’s life is dedicated to self-discovery. My own process of self-discovery, which is connected to the specific social role I occupy as a woman, was redefined and deepened through the practice of oriental dance. Oriental dance is an element of another culture - the culture of the Middle East, but in time it became universal, because it is practiced by women all around the world: in the United States of America, in the North - in Finland, as well as in the East - in China and Japan. Why such popularity and expansion all around the world? In our Western culture and education a woman is expected to play a variety of social roles in her everyday life. All these roles - mother, housewife, lover, working woman - drain her energy and take up her time. Women in contemporary (Slovenian) society are often overburdened. This seems to be a consequence of the unequal division of household chores - a woman in general performs the major part of the household chores, at the same time being active at work and at career building which results in a lack of time for focusing on self-realization. Reinforcing their connection to their own body helps women become more self-confident, open and relaxed in their communication with their surroundings. This process somehow helps them discover a part of their own personality and corporeal primordiality. In my present research I will try to confirm that to women who practice it, oriental dance opens up new dimensions of acceptance of the self as a subject and of its position as a woman. I did this through an analysis of interviews with ten oriental dancers in Slovenia, with whom I talked about their experience with and reception of oriental dancing. The concepts I use in my interpretations are derived from the feminist theory of Luce Irigaray and her dissertation on the various aspects and subjectivization of gender. The many facets of a woman’s identity are shaped through a variety of roles in her life. The aforementioned author asserts that female identity is multilayered and elusive, at the same time emphasizing that in fact we should not be interested in the final shape, namely identity as a fixed occurrence, but the process of building or formation of distinct identity positions. An analysis of the oriental dancers’ interviews shows us that a woman’s identity must be understood as a multifaceted phenomenon - a field of various intertwining aspects and opinions, which have some common meeting points. identiteta orientalski ples samorealizacija telesna prvinskost mnogoterost subjekt identity oriental dance self-realization multitude of facets corporeal primordiality subject gender true true false [I. Gnezda Šuligoj] Slovenski jezik Angleški jezik Magistrsko delo/naloga 2021-07-26 14:03:06 2021-07-26 14:03:06 2024-06-12 16:57:16 0000-00-00 00:00:00 2013 0 Nova Gorica 2013 Nova Gorica 95 str., [33] str. pril. 0000-00-00 NiDoloceno NiDoloceno NiDoloceno 0000-00-00 0000-00-00 0000-00-00 305-055.2:793.3(043.7) 1024625473 RAZ_Gnezda_Suligoj_Ivica_i2013.pdf RAZ_Gnezda_Suligoj_Ivica_i2013.pdf 1 95FAA656819DD438A2BAFEDDB9DC39FB 71318bf8943931684359065e7a6492e236f70abc5beb3caab707abcd71d574ca eeac3297-2898-11ef-9c9e-001a4af901a5 https://revis.openscience.si/Dokument.php?lang=slv&id=8285 Fakulteta za uporabne družbene študije 0 0 0