CONCLUSIONS s a way of concluding, I would like to return to my positio- nality and starting points from the introduction. As Huston Smith, Linda Alcoff, and Paul Knitter have claimed, stating a scholar’s starting point is essential for globally responsible dialogue. My positionality and starting point in researching Bharatanatyam, the kabuki onnagata, whirling dervishes, and Israeli folk dance is that of an outsider. My chosen faith tradition, my training as a dancer, and my background make me an outsider looking in on these spectacular, complex, and fascinating dancing faith traditions. Being an outsider can certainly hinder such research; cultural complexities could go overlooked, historical shifts could be misunderstood, and nuances of faith and technique could be neglected. Amidst the possibilities for error, I hope my outsider status has brought something unique to this project. As an outsider looking in, I have the fresh and unbiased privilege of attempted objectivity. My personal history is not invested in any of these dancing traditions, nor does my critique pose a personal attack. Rather, what the process of researching these dances has been like for me is a journey of wonder. It has been an opportunity to step outside of myself, outside of my own traditions and gaze into the extraordi- nary beauty and suffering of the feminine embedded in dances and faith traditions from India, Japan, Turkey, and Israel. It has been a reminder that people from myriad faith traditions dance in the grips of tremendous joy and in the face of...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.