نوع مقاله : مقاله پژوهشی
نویسندگان
گروه هنرهای نمایشی، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران، ایران
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
This study is situated within performance studies and employs a descriptive-analytical method. It examines the historical capacities of dammām performance among Afro-descendants in Bushehr in relation to the redistribution of the sensible. The theoretical framework is based on Jacques Rancière’s concepts of the distribution of the sensible, the police order, and his distinctive approach to history. The article investigates the history of the introduction of the dammām, the formation of different modes of dammām performance in Bushehr, and the relation of this performance to Afro-descendants, Black enslaved people, and the maritime culture of southern Iran. It demonstrates how dammām performance, in contexts such as maritime labor, public performance, and religious rituals, created possibilities for subaltern visibility. The central question is how Afro-descendants, through dammām performance, distanced themselves from the positions assigned to them by the police order and became visible on the social stage. The findings indicate that dammām performance enabled the subjectivation of performers and endured as a performative trace of Afro-Iranian presence and influence in Bushehr.
کلیدواژهها [English]
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