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278:(baggy trousers), a long skirt and a gilt belt, knotted at the back. They were said to be "sensuous, attractive, effeminate", and their dancing "sexually provocative". Dancers minced and gyrated their hips in slow vertical and horizontal figure eights, rhythmically snapping their fingers and making suggestive gestures. Often acrobatics, tumbling and mock
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danced among the spectators, to make them more excited. In the audience, competition for their attention often caused commotions and altercations. Men would allegedly go wild, breaking their glasses, shouting themselves voiceless, or fighting and sometimes killing each other vying for the opportunity
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derives from
Ottoman Turkish كوچوك (küçük, “small, little”), from Old Anatolian Turkish (kiçük, “small, little”), from Proto-Turkic *kičük, *kičüg (“small, little”). Cognate with Old Turkic 𐰚𐰃𐰲𐰏 (kičig), Karakhanid (kičüg), Kazakh кіші (kışı), кішкене (kışkene), Uyghur كىچىك (kichik), Kyrgyz
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The youths, often wearing heavy makeup, would curl their hair and wear it in long tresses under a small black or red velvet hat decorated with coins, jewels and gold. Their usual garb consisted of a tiny red embroidered velvet jacket with a gold-embroidered silk shirt,
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was a key factor in its development, as the early stages of the art form was confined to palace circles. From there the practice dispersed throughout the Empire by means of independent troupes.
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Today, Köçek dancing is still seen in Turkey, although it has changed form to a more folkloric and less sexualized dance and is now done by adult men, still in skirts, beards and all
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and many musicians. The occasions of their performances were wedding or circumcision celebrations, feasts and festivals, as well as the pleasure of the sultans and the aristocracy.
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and would be considered accomplished after about six years of study and practice. A dancer's career would last as long as he was clean shaven and retained his youthful appearance.
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dancers working in the taverns of the
Turkish capital. They were outlawed in 1837 due to fighting among audience members over the dancers. With the suppression of
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Klebe, Dorit. "Effeminate
Professional Musicians in Sources of Ottoman-Turkish Court Poetry and Music of the Eighteenth and Nineteenth Centuries.”
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s skill would be judged not only on his dancing abilities but also on his proficiency with percussion instruments, especially a type of
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to rape, molest, or otherwise force the children into sexual servitude. This resulted in suppression of the practice under Sultan
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being a large drum, one side covered with goat skin and the other in sheep skin, producing different tones. A
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Dancing
Modernity: Gender, sexuality and the state in the late Ottoman Empire and early Turkish Republic
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troupe at a fair" at Sultan Ahmed's 1720 celebration of his son's circumcision. Miniature from the
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The
Homoerotics of Orientalism: Mappings of Male Desire in Narratives of the Near and Middle East
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The
Dangerous Lives of Public Performers: Dancing, Sex, and Entertainment in the Islamic World
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Dancing Fear & Desire: Race, Sexuality and
Imperial Politics in Middle Eastern Dance
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839:, edited by Arno Schmidt and Jehoeda Sofer, ed. Harrington Park Press, New York, 1992
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dance and music lost the support of its imperial patrons and gradually disappeared.
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Eski İstanbul'da
Meyhaneler ve Meyhane Köçekleri, İstanbul Ansiklopedisi Notları No
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today. The accompaniment included various percussion instruments, such as the
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Dance, sex, and gender: signs of identity, dominance, defiance, and desire
598:. The University of Arizona, Near Eastern Studies. pp. 43–44, 47–51.
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137:. Its genres enriched both the music and the dance of the Ottomans.
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would begin training around the age of seven or eight after he was
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elements. They performed to a particular genre of music known as
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Turkish
Cultural Foundation: Court dance in the Ottoman Empire
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762:"Köçek (L*), the original Čoček. Turkish male bellydance"
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Sexuality and Eroticism Among Males in Moslem Societies
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Sexuality and eroticism among males in Moslem societies
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Young male slave dancer who dressed in feminine attire
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The Belly Dance Book: Rediscovering the Oldest Dance
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451:"Music, Identity, Gender: Çengi̇s, Köçeks, Çöçeks"
477:"Music, Identity, Gender: Çengis, Köçeks, Çöçeks"
932:Bibliography of works on wartime cross-dressing
254:as principal instruments, used exclusively for
875:Köçek (Dancing Boy) – Homosexual Art of Turkey
496:"Rusça-Qırımtatarca, Qırımtatarca-Rusça luğat"
19:For the 1975 Turkish romantic drama film, see
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623:. Columbia University Press. p. 102.
394:, who struggles with his gender identity.
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321:. Before starting their performance, the
266:(palace harem) involved one or two dozen
60:) was typically a very pretty young male
1510:March against Homophobia and Transphobia
833:Transvestites and Transsexuals in Turkey
330:. In 1805, there were approximately 600
789:. TSA Center for Turkish Cinema Studies
509:Stephen O. Murray, Will Roscoe (1997).
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258:suites. There were also two singers. A
125:means "baby camel". The culture of the
564:"The Classical Turkish Music: Köçekçe"
215:influences, some of which survives in
380:A modern interpretation is the movie
356:were much more sought after than the
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481:ITU Turkish Music State Conservatory
810:AYVERDİ, Sâmiha; Istanbul Geceleri
1503:Genetically Modified Tomato Awards
1482:Pyramid LGBT Diyarbakır Initiative
1323:List of transgender-related topics
647:Stavros Stavrou Karayanni (2006).
542:. Palgrave MacMillan. p. 25.
183:The dances, collectively known as
133:palaces, and in particular in the
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653:. WLU Press. pp. 78, 82–83.
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1328:List of transgender publications
589:Danielle J. van Dobben (2008).
1693:Slaves from the Ottoman Empire
1648:Transgender in the Middle East
291:Hammamizade İsmail Dede Efendi
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1261:Social construction of gender
1256:Causes of gender incongruence
826:Sexual life in Ottoman Empire
707:. Routledge. pp. 84–85.
1683:19th century in LGBT history
1678:18th century in LGBT history
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977:Trousers as women's clothing
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857:Türk Musikisi Ansiklopedisi
846:30, no. 1/2 (2005): 97–116.
814:, ed. Baha, Istanbul, 1977.
736:. Backbeat Press. pp.
674:Judith Lynne Hanna (1988).
475:Prof. Ş. Şehvar Beşiroğlu.
305:(nighttime taverns serving
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1653:Culture of the Middle East
426:LGBT in the Ottoman Empire
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1688:Turkish words and phrases
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1077:Kottankulangara Festival
619:Joseph A. Boone (2014).
483:, Musicology Department.
26:Not to be confused with
1277:Lists of cross-dressers
1168:Hip and buttock padding
1148:Female urination device
342:(1861–1876) and Sultan
1574:Human rights in Turkey
1414:LGBT history in Turkey
1282:Wartime cross-dressers
1194:In film and television
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824:Erdoğan, Sema Nilgün:
812:The nights of Istanbul
728:Tazz Richards (2000).
494:Üseinov, S.M. (2007).
293:(1778–1846), composed
285:Famous poets, such as
282:were part of the act.
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119:Crimean Tatar language
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1430:LGBT rights in Turkey
1240:Transvestic fetishism
817:ENDERUNLU Fazıl bey;
740:, 27, 28, 29–37, 32.
701:Arno Schmitt (1992).
536:Anthony Shay (2014).
421:LGBT topics and Islam
412:, Egyptian equivalent
262:dance in the Ottoman
217:popular Turkish music
160:", illustration from
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40:in Ottoman miniature.
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1638:Turkish male dancers
1163:Cleavage enhancement
849:KOÇU, Reşad Ekrem,
1708:Male erotic dancers
1673:Turkish sex workers
1520:Pink Life QueerFest
1287:List of drag queens
1103:Crossplay (cosplay)
1005:Theatrical travesti
992:Cross-gender acting
962:Cross dressing ball
766:Folkdance Footnotes
570:on 15 December 2013
449:Besiroglu, Sehvar.
406:, Afghan equivalent
386:(1975) by director
213:classical Anatolian
140:The support of the
64:effeminate dancer (
1292:List of drag kings
1209:In animated series
1204:In music and opera
1136:Passing techniques
498:. Aqmescit, Tezis.
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1594:Turkey portal
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1153:Packing (phallus)
1096:Subcultural slang
947:Womanless wedding
630:978-0-231-15110-8
605:978-1-243-41693-3
549:978-1-349-49268-8
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1054:Shirabyōshi
236:castagnette
221:davul-köçek
185:köçek oyunu
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1541:Ayı Sözlük
1536:Gabile.com
957:Hybristica
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