Please use this identifier to cite or link to this item: 192.168.6.56/handle/123456789/46784
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dc.contributor.authorMasayo Doi, Mary-
dc.date.accessioned2019-02-22T08:08:59Z-
dc.date.available2019-02-22T08:08:59Z-
dc.date.issued2002-
dc.identifier.isbn0–89789–825–7-
dc.identifier.urihttp://10.6.20.12:80/handle/123456789/46784-
dc.descriptionThe expressive arts played a dramatic and highly visible role in the former Soviet empire. Unlike the United States, the arts in the Soviet Union received extensive public support through state-sponsored schools to train professional dancers and performing troupes such as the great Kirov and Bolshoi ballet companies. At the regional level, the famous pan–Soviet Moiseyev company toured the world featuring “national” dances representing the diverse republics and peoples comprising the Soviet Union. Why did the Soviet government choose dance as a political medium? How did the expressive arts affect Soviet society, and how did such close links with the state affect art and artists? What did it mean to be an artist trained and employed by a colonial government?-
dc.languageenen_US
dc.language.isoenen_US
dc.publisherUnited States of Americaen_US
dc.subjectWomen—Uzbekistan—Social conditionsen_US
dc.titleGesture, Gender, Nation Dance and Social Change in Uzbekistanen_US
dc.typeBooken_US
Appears in Collections:Gender

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