Rosemary Martin trained at the New Zealand School of Dance, Wellington and was subsequently a member of the Royal New Zealand Ballet. She performed in Australia, London, Canada and Japan. She has extensive experience in research and teaching in the Middle East and has taught at Cairo Modern Dance Company; El-Funoun Palestinian Dance Troupe; the Jordanian National Dance Center; and the Lebanese American University. She is the co-author (with Nicholas Rose and Ralph Buck) of Talking Dance: Contemporary Histories from the Southern Mediterranean (2013).

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• CONTENTSList of illustrationsChapter 1. Introduction: Meeting dancers, making stories, meaning makingPART ONE: “WHY CAN’T I DANCE IN THE STREETS?”Chapter 2. Politics and performance entwine: Hala’s storyChapter 3. Surveillance weaving through body, mind and performance: Mey’s storyChapter 4. Occupation, to occupy and to be occupied: Nadia’s storyPART TWO: “ARE THESE BORDERS MAKING ME MORE CREATIVE?”Chapter 5. Breaking boundaries and borders of dance: Noora’s storyChapter 6. Freedom inside and outside dance: Rania’s storyChapter 7. Censorship choreographed, propaganda performed: Dalia El Abd’s storyPART THREE: “BEING A FEMALE CONTEMPORARY DANCER… AND BY THE WAY, I’M ARAB, IS THAT A PROBLEM?”Chapter 8. The female dancing body in the Arab world: Dalia Naous’ storyChapter 9. Society and the struggles of the dancer: Nadra’s storyChapter 10. Conclusion: Dreaming for the future BibliographyIndex

Rosemary Martin trained at the New Zealand School of Dance, Wellington and was subsequently a member of the Royal New Zealand Ballet. She performed in Australia, London, Canada and Japan. She has extensive experience in research and teaching in the Middle East and has taught at Cairo Modern Dance Company; El-Funoun Palestinian Dance Troupe; the Jordanian National Dance Center; and the Lebanese American University. She is the co-author (with Nicholas Rose and Ralph Buck) of Talking Dance: Contemporary Histories from the Southern Mediterranean (2013).

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• CONTENTSList of illustrationsChapter 1. Introduction: Meeting dancers, making stories, meaning makingPART ONE: “WHY CAN’T I DANCE IN THE STREETS?”Chapter 2. Politics and performance entwine: Hala’s storyChapter 3. Surveillance weaving through body, mind and performance: Mey’s storyChapter 4. Occupation, to occupy and to be occupied: Nadia’s storyPART TWO: “ARE THESE BORDERS MAKING ME MORE CREATIVE?”Chapter 5. Breaking boundaries and borders of dance: Noora’s storyChapter 6. Freedom inside and outside dance: Rania’s storyChapter 7. Censorship choreographed, propaganda performed: Dalia El Abd’s storyPART THREE: “BEING A FEMALE CONTEMPORARY DANCER… AND BY THE WAY, I’M ARAB, IS THAT A PROBLEM?”Chapter 8. The female dancing body in the Arab world: Dalia Naous’ storyChapter 9. Society and the struggles of the dancer: Nadra’s storyChapter 10. Conclusion: Dreaming for the future BibliographyIndex

Rosemary Martin trained at the New Zealand School of Dance, Wellington and was subsequently a member of the Royal New Zealand Ballet. She performed in Australia, London, Canada and Japan. She has extensive experience in research and teaching in the Middle East and has taught at Cairo Modern Dance Company; El-Funoun Palestinian Dance Troupe; the Jordanian National Dance Center; and the Lebanese American University. She is the co-author (with Nicholas Rose and Ralph Buck) of Talking Dance: Contemporary Histories from the Southern Mediterranean (2013).

Select Guide Rating

• CONTENTSList of illustrationsChapter 1. Introduction: Meeting dancers, making stories, meaning makingPART ONE: “WHY CAN’T I DANCE IN THE STREETS?”Chapter 2. Politics and performance entwine: Hala’s storyChapter 3. Surveillance weaving through body, mind and performance: Mey’s storyChapter 4. Occupation, to occupy and to be occupied: Nadia’s storyPART TWO: “ARE THESE BORDERS MAKING ME MORE CREATIVE?”Chapter 5. Breaking boundaries and borders of dance: Noora’s storyChapter 6. Freedom inside and outside dance: Rania’s storyChapter 7. Censorship choreographed, propaganda performed: Dalia El Abd’s storyPART THREE: “BEING A FEMALE CONTEMPORARY DANCER… AND BY THE WAY, I’M ARAB, IS THAT A PROBLEM?”Chapter 8. The female dancing body in the Arab world: Dalia Naous’ storyChapter 9. Society and the struggles of the dancer: Nadra’s storyChapter 10. Conclusion: Dreaming for the future BibliographyIndex