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339:, and on the choreographic skills and body shape of that singer. Strauss himself stipulated that the dance should be "thoroughly decent, as if it were being done on a prayer mat." Nevertheless, many productions made the dance explicitly erotic. In a 1907 production in New York the dancer "spared the audience nothing in active and suggestive detail", to such an extent that some ladies in the audience "covered their eyes with their programs."
236:), in which Salome is depicted with exposed breasts and undulating belly, wearing transparent pantaloons. Wilde wrote a note in appreciation of Beardsley's design, saying: "For Aubrey: for the only artist who, besides myself, knows what the dance of the seven veils is, and can see that invisible dance." The concept of "belly dancing" had become widely known in 1893, the year before Beardsley created his designs, when it was featured at the
283:" (conjecturally, her various jewels and robes) in her descent through seven successive gates leading ever deeper into the underworld until at last she stood naked in the 'land of no return.' Oscar Wilde assigned this symbolic descent to the underworld of the unconscious, a ceremony that equates stripping naked to being in a state of truth, the ultimate unveiling, to Salome." Writing from a
359:'s production "Vision of Salomé" opened in Vienna. Based loosely on Wilde's play, her version of the Dance of the Seven Veils became famous (and to some notorious) and she was billed as "The Salomé Dancer". Her version was praised for the "eastern spirit" of her dancing without the "vulgarities familiar to the tourists in Cairo or Tangier". The dance first appeared in film in 1908 in a
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192:'s story "Herodias" in which Salome dances on her hands to please Antipas. The type of dance was common among "gypsy" acrobats in the 19th century. Wilde at first intended to follow Flaubert's version, but changed his mind. Shireen Malik says he may have been influenced by the 1870 poem "The Daughter of Herodias" by
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Wilde transforms the dance from a public performance for his guests, as in the Bible, to a personal dance for the king himself. He gives no description of the dance beyond the name, but the idea of a series of veils has been connected to a process of unveiling. As Malik says, "although Wilde does not
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argues that
Strauss's version of the dance "established the modern musical formula for the portrayal of ecstatic sensual desire and brought it to perfection." In Derek B. Scott's view, "The eroticism of the 'Dance of the Seven Veils' is encoded in the sensual richness (timbral and textual) of a huge
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The Hebrew word chuwl, meaning to twist or whirl (in a circular or spiral manner), is used in Judges 21:21-23, Judges 11:34, and I Samuel 18:6-7. In these instances it refers to a type of erotic dance done during biblical ceremonies, and performed by women. Most notably, in Canaan before 900 BC, a
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of the play also features the Dance of the Seven Veils. The dance remains unnamed except in the acting notes, but Salome's sexual fascination with John seems to motivate the request—though Herod is portrayed as pleased. The music for the dance comes from near the climax of the opera. The visual
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The Wilde play and the
Strauss opera led to the phenomenon of "Salomania", in which various performers put on acts inspired by Salome's erotic dance. Several of these were criticised for being salacious and close to stripping, leading to "insistent vogue for women doing glamorous and exotic
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writes "Wilde's bracketed brevity allowed for a world of interpretation. Can the invention of striptease be traced to a single innocuous stage direction in a censored play that could barely find a theater or audience? Can Oscar Wilde be considered the unlikely father of modern striptease?"
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refers to her as "the symbolic incarnation of undying Lust … the monstrous Beast, indifferent, irresponsible, insensible"; and
Mallarmé describes her as being inscrutable: "the veil always remains." Huysmans' hero
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performs the dance as a strip dance. She stops the dance before removing her last veil when she sees John's head being delivered on a platter, as she did not want him to be killed in this version of the story.
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characterizes her as a "weird and superhuman figure he had dreamed of. … n her quivering breasts, … heaving belly, … tossing thighs … she was now revealed as the symbol incarnate of old world vice."
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describe Salome's dance or suggest that she remove any veils, her dance is invariably assumed to be one of unveiling, thus revealing herself." Wilde's play has even been proposed as the origin of
314:. According to Rhonda Garelick, this "featured fourteen different Oriental dance numbers, including the 'Veil of Vapor' dance, done with clouds of steam instead of fabric veils."
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orchestra, the quasi-Oriental embellishment of melody (intimations of 'exotic' sensuality), and the devices of crescendo and quickening pace (suggestive of growing excitement)."
557:; after whose birth Herodias took upon her to confound the laws of our country, and divorced herself from her husband while he was alive, and was married to
119:. Herod offered his unnamed niece a reward of her choice for performing a dance for his guests on his birthday. Herodias persuaded her daughter to ask for
171:. Wilde was influenced by earlier French writers who had transformed the image of Salome into an incarnation of female lust. Rachel Shteir writes that,
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lists
Antipas's stepdaughter's name as Salome, but makes no mention of a dance nor makes any connection between Salome and John the Baptist.
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myth of the descent of Inanna. Wilde may have learned of the descent of the goddess by his acquaintance with Oxford professor
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Ernst Krause, Notes, trans. Kenneth Howe, that accompany The
Orchestral Music of Richard Strauss, vol. 3, (HMV SLS 894), n.p.
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The name "Dance of the Seven Veils" was chiefly popularized in modern culture with the 1894 English translation of
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Malik, Shireen, "She Freed and
Floated on the Air": Salome and her Dance of the Seven Veils", in Jennifer Heath,
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Rhonda
Garelick, "Electric Salome: Loie Fuller at the Exposition Universelle of 1900" in J. Ellen Gainor (ed.)
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in the stage direction "Salome dances the dance of the seven veils". The dance was also incorporated into
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Wilde's concept of "seven veils" is believed to be derived from the popularity of what were known as
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The poem goes on to describe brief views of her "jewelled body" as the flowing veils swirl and part.
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at the time. These were westernised versions of imagined Middle
Eastern styles of dance. The dancer
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small piece of cloth worn around the hips (ḥagor), would have been all that was worn.
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The idea that Salome's dance involves "seven veils" originates with Wilde's 1891 play
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was especially associated with such dances. In 1886, Fuller appeared at New York's
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remains highly praised and is now widely regarded as Bazlen's best performance.
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Through Salome's Veils to
Ultimate Cognition SKINNY LEGS AND ALL by Tom Robbins
673:(Studies in Jungian Psychology by Jungian Analysts #6), pub. Inner City Books,
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To the French, Salome was not a woman at all, but a brute, insensible force:
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in modern stage, literature, and visual arts. It is an elaboration on the
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Imperialism and
Theatre: Essays on World Theatre, Drama, and Performance
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Inanna: Queen of Heaven and Earth: Her Stories and Hymns from Sumer
778:"Remedying Biblical Trauma with a Festival of Love - TheTorah.com"
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Salome and the dance are recurring thematic and plot elements in
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perspective, Perera has demonstrated the same for the far older
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content of that scene (about seven minutes long with standard
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692:"Receiving Ištar through the seven veils of Oscar Wilde's
627:
The Veil: Women Writers on Its History, Lore, and Politics
509:, University of Nebraska Press, Lincoln, 2005, pp. 30-36.
279:. Inanna had to divest herself of the mysterious "seven
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From the Erotic to the Demonic: On Critical Musicology
650:, New York City, New York: Harper&Row Publishers,
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Descent to the Goddess: A Way of Initiation for Women
629:, University of California Press, 2008, pp. 134-153.
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709:(1). Institut Universitari del Pròxim Orient Antic,
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605:Striptease: The Untold History of the Girlie Show
252:A poster for a performance by LoĂŻe Fuller at the
457:Benezit Dictionary of Artists, Oxford Art Online
205:The veils fell round her like thin coiling mists
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646:Wolkstein, Diane; Kramer, Samuel Noah (1983),
203:Above dim veils that hid her bosom's charms...
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261:Bentley notes that the Mesopotamian goddess
115:, the former wife of Antipas's half-brother
841:Nicholas Ray's - King of Kings - DVD Review
355:'oriental' dances in striptease". In 1906
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607:, Oxford University Press, 2004, p. 46.
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365:Salome, or the Dance of the Seven Veils
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760:"Biblical Roots - The Best of Habibi"
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188:Wilde was especially influenced by
271:(underworld), ruled by her sister
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1083:Films with common biblical source
126:A similar account is recorded in
863:, 1990. Retrieved July 18, 2021.
478:A Dictionary of Opera Characters
196:which describes Salome dancing:
1118:Works from same biblical source
669:Perera, Sylvia Brinton, 1981,
472:Bourne, Joyce. Bourne, Joyce.
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1243:Cultural depictions of Salome
74:execution of John the Baptist
577:; and as he died childless,
138:The Romano-Jewish historian
32:Seven Veils (disambiguation)
535:(Book XVIII, Chapter 5, 4):
107:According to ten verses of
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244:Origin of the "veil" dance
56:is the dance performed by
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1133:Salomé – The Seventh Veil
742:, Routledge, 1995 p. 86.
463:. Retrieved 20 June 2014.
1223:Works based on the Bible
1165:Dance of the Seven Veils
878:Rita Hayworth dances in
690:Anderson, Talah (2023).
54:Dance of the Seven Veils
18:Dance of the seven veils
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30:For other uses, see
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436:Skinny Legs and All
328:operatic adaptation
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839:Hunter, Jeffrey.
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585:, the brother of
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455:"Point, Armand."
408:In the 1961 film
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433:1990 novel
357:Maude Allan
304:LoĂŻe Fuller
300:veil dances
234:belly dance
146:Oscar Wilde
81:Oscar Wilde
1208:7 (number)
1202:Categories
1171:The Climax
1050:(Mariotte)
941:Characters
443:References
326:Strauss's
273:Ereshkigal
228:In one of
218:striptease
109:Matthew 14
1126:HĂ©rodiade
1042:(Strauss)
724:August 9,
719:0212-5730
361:Vitagraph
958:Herodias
824:review,
713:: 5–26.
563:tetrarch
547:Mariamne
539:Herodias
527:Josephus
474:"Salome"
289:Sumerian
177:Huysmans
140:Josephus
134:Josephus
117:Herod II
113:Herodias
72:and the
887:YouTube
827:Variety
587:Agrippa
567:Galilee
390:(1961).
381:in the
337:soprano
285:Jungian
277:Dumuzid
1238:Inanna
1185:Salome
1110:(2002)
1107:Salomé
1102:(1953)
1099:Salome
1094:(1918)
1091:Salomé
1066:Salomé
1047:Salomé
1039:Salomé
1023:(2013)
1020:Salomé
1015:(2011)
1007:(1988)
999:(1986)
996:Salomé
991:(1923)
988:Salomé
983:(1920)
948:Salome
928:Salome
882:(1953)
880:Salome
807:
746:
717:
694:Salomé
677:
654:
633:
571:Philip
555:Salome
513:
416:Salomé
397:Salome
379:Salomé
263:Inanna
168:Salomé
128:Mark 6
96:Salome
86:Salome
58:Salome
48:, 1898
1143:Other
1058:Songs
1031:Opera
972:Films
699:(PDF)
583:Herod
559:Herod
551:Simon
525:From
333:tempi
805:ISBN
744:ISBN
726:2024
715:ISSN
675:ISBN
652:ISBN
631:ISBN
511:ISBN
52:The
925:'s
885:on
565:of
377:as
268:Kur
157:by
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857:.
762:.
707:41
705:.
701:.
612:^
596:^
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488:^
476:,
459:,
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414:,
400:,
367:.
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830:.
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20:)
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