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Costumes and Fashion in Dance - CLOTHING., HAIRSTYLES., ACCESSORIES., SCHOLARS’ REACTIONS., SOURCES

wore dancers kingdom women

During the Old Kingdom, women normally wore long dresses with straps over the shoulders. The hems of such dresses hung just above the ankles. Dancers wore this costume while performing the mirror dance in the tomb of the prime minister, Mereruka. Singers and clappers accompanying dances also often wore this costume in scenes of all periods. However, the Old Kingdom dress fit snugly and obstructed free movement. This garment could only accommodate dances performed with short steps that avoided raising the legs. During more vigorous dances, female performers wore a short kilt cut at an angle in the front. A belt often hung down from the waist. This belt was long enough so that its movement would accentuate the dancer’s movements. The Old Kingdom dress continued in popularity for everyday wear and for singers during the Middle Kingdom, but dancers mostly wore the short kilt, probably because Middle Kingdom dances were more lively and athletic than Old Kingdom dances. During the New Kingdom, the typical woman’s dress added a cloak with either broad or narrow sleeves. The dress under the cloak often included a belt. Both the cloak and the dress were often pleated. Dancers wore both the narrow- and broad- sleeved cloak sometimes wearing a belt over the cloak. Many New Kingdom female dancers wore only a belt, performing in the nude. The Egyptians exhibited few inhibitions about displaying the female body. Since a funeral reenacted the steps leading to re-birth, the Egyptians regarded funerals, in part, as containing erotic elements that would lead to conception and birth into the afterlife. Children were also depicted as dancing nude. Most representations of pre-pubescent boys and girls in all situations reveal a lack of clothing. Girls often danced wearing a belt to emphasize the movement of the hips, just as modern Middle-Eastern dancers tie scarves around their hips. Egyptians felt no embarrassment at young children dancing, playing, or living with minimal clothing. Most Egyptian men wore kilts as their normal “street clothes” as well as for dancing. Sometimes men added a belt with a suspended panel to the front of the kilt. The belt sometimes also had fringes attached. These elements would have emphasized their movements by enlarging them. Men’s costumes for dance exhibit little change over long stretches of time.

HAIRSTYLES.

In the Old Kingdom, women wore their hair short. Representations of women with long hair usually include visual clues that they were wearing wigs. Egyptologists call the long wig the tripartite hairstyle. The hairdresser arranged the hair of the wig in three sections with one section over each shoulder and the central mass of hair down the back. Dancers sometimes wore this style, and it was common for singers. Other dancers wore their natural hair very close-cropped in a style resembling men’s hairstyles. Some scholars believe that women represented with short hair were wearing a close-fitting cap. The third typical hairstyle for women dancers was a ponytail weighted at the end with a disk or ball. In many representations this disk is painted reddish-orange, the same color as the sun. This element thus might relate to the cult of the sun-god, Re. Middle Kingdom female dancers also wore this ponytail with a disk-shaped weight. Others wore three pigtails, though this style was less common. New Kingdom women were subject to more quickly changing styles. Though both the close-cropped style and the tripartite hairstyle continued in popularity, women also wore wigs that entirely enveloped their backs, shoulders, and chests, and dancers sometimes imitated this fashion. Some female dancers wore complicated hairstyles that scholars believe came from Nubia, in the modern Sudan, just south of Egypt. Perhaps some of these changes from the earlier periods resulted from artists’ increased interest in representing this kind of detail. When men danced, they normally wore their hair in a close-cropped short style. They might also wear a tight-fitting cap. The only specialized headgear that men wore for the dance was the tall, crown-like muu-hat. This distinctive headgear identified the muu-dancer with ferrymen who conducted boats through Egypt’s canals, and revealed their function in the dance as conductors of the funeral procession from place to place. The muu-hat was made from woven reeds and was rather tall and cone-shaped. Though rare, representations of men wearing ponytails with the disk-shaped weight more commonly worn by female dancers do exist. This style possibly associated the dance with the cult of the sun-god, Re.

ACCESSORIES.

Women’s accessories emphasized parts of their bodies important to the dance. Bracelets and armlets drew attention to their arms and large gold earrings brought focus to the head. The same was true of the headbands and fragrant cones that women wore on their heads as a perfume. Finally, many women wore straps crossed over the chest and back as part of the dance costume. The only accessories that male dancers wore were bracelets and collars. While the precious metals worn on the wrists and around the neck served to draw the viewer’s attention, this jewelry was similar to what men wore in other situations and so was not particularly significant to the dance costume.

SCHOLARS’ REACTIONS.

Western scholars in the past have often expressed discomfort with the relatively revealing costumes that Egyptian dancers wore. They were reacting, in part, to the issue of public nudity, but also to the real presence of erotic intent that was integral to Egyptian funerals. Egyptian funerals led the deceased to rebirth into the afterlife. The Egyptians believed that this rebirth required a sexual conception resembling conception and birth into this world. Revealing clothing paired with movement played an obvious role in this process.

SOURCES

Rafael Perez Arroyo, Egipto: La música en la era de las pirámides (Madrid: Ediciones Centro de Estudios Egipcios, 2000).

Fr. W. von Bissing, “Ein altägyptische Mädchentracht,” Zeitschrit für Ägyptische Sprache 37 (1899): 75–78.

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