Katib Chelebi, also known as Mustafa son of Abd Allah, was born in 1609. In his childhood he received good education and learned Arabic grammar. He became one of the most important scholars in Ottoman Empire in the seventeenth century. His famous works were on the field of geography “Jihannuma”, on the topic of religious debates “The Balance of Truth”. He was open to innovation and influenced by the Western thoughts.
Traditional theatres aim at making the characters seem larger than life. Avid audiences of traditional theatres understand that these characters and their expressions, with the use of mask and/or makeup are not realistic, are exaggerated. However, the audience also accepted the amplification of characters as theatres norms, thus able to decipher and appreciate. For example, it might be enjoyable for noh theatre goers to respect and admire the use of Hannya mask in noh Dojouji play, but its grotesque features might be disturbing to those unable to understand the mask. Moreover, the elaborated, heavily - embellished costumes compliment the stylized movements but also limit the actors’ acting on satge in traditional theatres.
Entered the world of Kabuki as a child, and ‘without the foggiest notion of what I would eventually become and, before I knew it, I had become a Kabuki actor’ (Bando 2011). Growing up in Kabuki-za theatre, he has chances to watch the senior actors performing on stage, to truly feel the essence of Kabuki since the young age. Therefore, this allows Tamasaburo to grow his love and passion to be a Kabuki actor, to be an Onnagata. Living in such artistic tradition environment, Tamasaburo was surrounded by many respectable predecessors, yet during his young age, there were three persons inspiring him the most, they are his foster father Morita Kanya XIV and the two apprentices of him, Bando Tamon and Bando Yagoro. As a father and a tachiyuka, another type of Kabuki actor, Kanya taught him all about the characteristics of a good person as well as a standard Kabuki actor, meanwhile, Tamon and Yagoro, especially Tamon who is also an Onnagata, taught him the path to accomplishedly represent a character and the very minor elements to truly success in the role of an Onnagata.
For example, Imam Mustafa's wife, when she is at home, does not wear her hair covering (Al-hujab). When she is in public place like the meeting hall at the city, or she visits another family, she wears a full head covering which is a symbol of her religion. Another factor in the theater is the light. Stage lighting is the craft of lighting as it applies to performance of the actors. For example, the light was focus on Jennifer, Ted's daughter, when she argues her uncle to remove the website from his Facebook.
Our research methodology included carrying out a literature review and studying archival documents. 2. NAQSHBANDIYYA IN LATE OTTOMAN EMPİRE The concept of the illustrious eponym who founds a tariqa, in the double sense of mystical way and Sufi brotherhood, is powerful. Sufis might celebrate a tariqa founder while viewing their respective mystical ways as traditions extending via the silsilas all the way back to the Prophet Muhammad. Moreover, tariqas did not emerge from nothing, rather they
It is uncertain that every book of history gives the exact detailed facts and information about a specific subject which is the case for western travel narratives of Morocco. In the late nineteenth century, European empires such as Britain and France were colonizing countries of Asia and North African including Morocco. Moulay El-Hassan was the Sultan in the period between 1873 and 1894; he was intelligent and successful with enough political tactics to pacify the warring Moroccan races and to solve his country’s problems in order to release it from the domination of the French empire. In addition, Morocco knew many major historical events that led it to be an interesting subject to western explorers. Every traveller had a purpose to visit
Serving as a potential signpost in Emirati cultural criticism, her poetry attempts to abolish all distinctions between men and women in the Arab world as well as other binarisms that constitute a legacy of patriarchal ways of thinking. Incorporating feminist and social issues rooted in the collective consciousness of the Arab people, Ghabesh attempts to locate contemporary Emirati poetry in the context of current transformations in global relationships linking local cultural discourses with the intellectual concerns and orientations originating at the central sites of Western literary
Watching the play Sapanako Sabiti in Gurukul was an extremely insightful aesthetic experience. There are two things that have influenced me to write a critical response to the play. One is CK Lal’s creative expression in terms with understanding the nuances of contemporary history and placing the individual to map the history. The other is Nisha Sharma’s involvement with the play, her yet again powerful portrayal of the character. Nisha’s role complements Lal’s creativity.
Nabati poems are a form of poetry from the ancient Arabic poetry that gives a description of the events that occur on daily basis. Using the poetry was more frequent in the Arabian Peninsula where it displayed the unique history and the traditional practices of the locality. Nabati poetry gives a description of the events in the Arabian Peninsula and the Middle East countries in the past. The uses of Nabati poetry started in the 6th century as a show of the talents of the natives at a place by the name Nabati, especially in creativity. The second reason is the resulting language that resulted from the interaction of different cultures forming a new language by the name Nabati.
1.8.2 Her Themes Zaynab Alkali is believed to be the first notable female voice from Northern Nigeria. She was enthusiastically welcomed in the male dominated Nigerian literary scene. Her widely read novels focus on the position of African women in patriarchal Africa. In her various works, she has dealt with themes ranging from the problems of child-brides, child abuse, the negative consequences of unemployment, purdah, polygamy etc. She has repeatedly called for a new brand of feminism or what one may term as African feminism.