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Santería, also known as Regla de Ocha, La Regla de Ifá, or Lucumí, is an Afro-American religion of Yoruba origin that developed in Cuba among West African descendants. Santería is a Spanish word that means the 'worship of saints'. Santería is influenced by and syncretized with Roman Catholicism. Its sacred language is the Lucumí language, a remnant of Yoruba language that is used in rituals but no longer spoken as a vernacular and mostly not understood by practitioners.<br/><br/> Plaza de la Catedral is one of Old Havana’s squares, this cobbled open area (pedestrians only) is surrounded by fine buildings and home to the most colourful of all La Habana Vieja’s street people and performance artists. They range from Santería priestesses through sharp-suited street dancers to flower girls and Rastafarians.<br/><br/> La Habana Vieja (Old Havana) was declared a National Monument in 1977, and a UNESCO World Heritage Site in 1982. It is the most significant centre of Spain’s colonial heritage in all the Americas.
Plaza de la Catedral is one of Old Havana’s squares, this cobbled open area (pedestrians only) is surrounded by fine buildings and home to the most colourful of all La Habana Vieja’s street people and performance artists. They range from Santería priestesses through sharp-suited street dancers to flower girls and Rastafarians.<br/><br/> The baroque Catedral de la Habana, dating from 1777, dominates the square. Officially the Catedral de la Virgen María de la Concepción Immaculada, the great, brass-bound wooden doors are particularly impressive – locals rap them for good luck at New Year! Other fine buildings around the square include the Casa del Marques de Arcos, today an art gallery, and the Casa de Lombillo (1741) which now houses the Museo de la Educación. Directly opposite the cathedral is the fully restored Casa del Conde de Casa Bayona (1720), a fine colonial building which contains the Museo de Arte Colonial.<br/><br/> La Habana Vieja (Old Havana) was declared a National Monument in 1977, and a UNESCO World Heritage Site in 1982. It is the most significant centre of Spain’s colonial heritage in all the Americas.
Plaza de la Catedral is one of Old Havana’s squares, this cobbled open area (pedestrians only) is surrounded by fine buildings and home to the most colourful of all La Habana Vieja’s street people and performance artists. They range from Santería priestesses through sharp-suited street dancers to flower girls and Rastafarians.<br/><br/> The baroque Catedral de la Habana, dating from 1777, dominates the square. Officially the Catedral de la Virgen María de la Concepción Immaculada, the great, brass-bound wooden doors are particularly impressive – locals rap them for good luck at New Year! Other fine buildings around the square include the Casa del Marques de Arcos, today an art gallery, and the Casa de Lombillo (1741) which now houses the Museo de la Educación. Directly opposite the cathedral is the fully restored Casa del Conde de Casa Bayona (1720), a fine colonial building which contains the Museo de Arte Colonial.<br/><br/> La Habana Vieja (Old Havana) was declared a National Monument in 1977, and a UNESCO World Heritage Site in 1982. It is the most significant centre of Spain’s colonial heritage in all the Americas.
According to legend, the origins of Kandyan dance lie in an exorcism ritual known as the Kohomba Kankariya, which was originally performed by Indian shamans who came to Sri Lanka.<br/><br/> It was originally performed by dancers who were identified as a separate caste under the Kandyan feudal system. They were aligned to the Temple of the Tooth and had a significant role to play in the Dalada Perahera (procession) held each year by the temple.<br/><br/> Even though originally only males were allowed train as dancers, there are now several schools which also train women in the Kandyan dance form. However there is no definite Ves costume for women, and many female dancers have adapted the male costume in different ways.
Plaza de la Catedral is one of Old Havana’s squares, this cobbled open area (pedestrians only) is surrounded by fine buildings and home to the most colourful of all La Habana Vieja’s street people and performance artists. They range from Santería priestesses through sharp-suited street dancers to flower girls and Rastafarians.<br/><br/> The baroque Catedral de la Habana, dating from 1777, dominates the square. Officially the Catedral de la Virgen María de la Concepción Immaculada, the great, brass-bound wooden doors are particularly impressive – locals rap them for good luck at New Year! Other fine buildings around the square include the Casa del Marques de Arcos, today an art gallery, and the Casa de Lombillo (1741) which now houses the Museo de la Educación. Directly opposite the cathedral is the fully restored Casa del Conde de Casa Bayona (1720), a fine colonial building which contains the Museo de Arte Colonial.<br/><br/> La Habana Vieja (Old Havana) was declared a National Monument in 1977, and a UNESCO World Heritage Site in 1982. It is the most significant centre of Spain’s colonial heritage in all the Americas.
Plaza de la Catedral is one of Old Havana’s squares, this cobbled open area (pedestrians only) is surrounded by fine buildings and home to the most colourful of all La Habana Vieja’s street people and performance artists. They range from Santería priestesses through sharp-suited street dancers to flower girls and Rastafarians.<br/><br/> The baroque Catedral de la Habana, dating from 1777, dominates the square. Officially the Catedral de la Virgen María de la Concepción Immaculada, the great, brass-bound wooden doors are particularly impressive – locals rap them for good luck at New Year! Other fine buildings around the square include the Casa del Marques de Arcos, today an art gallery, and the Casa de Lombillo (1741) which now houses the Museo de la Educación. Directly opposite the cathedral is the fully restored Casa del Conde de Casa Bayona (1720), a fine colonial building which contains the Museo de Arte Colonial.<br/><br/> La Habana Vieja (Old Havana) was declared a National Monument in 1977, and a UNESCO World Heritage Site in 1982. It is the most significant centre of Spain’s colonial heritage in all the Americas.
Toyohara Chikanobu, better known to his contemporaries as Yōshū Chikanobu, was a prolific woodblock artist of Japan's Meiji period. His works capture the transition from the age of the samurai to Meiji modernity.<br/><br/> In 1875 (Meiji 8), he decided to try to make a living as an artist. He travelled to Tokyo. He found work as an artist for the Kaishin Shimbun. In addition, he produced <i>nishiki-e</i> artworks. In his younger days, he had studied the Kanō school of painting; but his interest was drawn to <i>ukiyo-e</i>.<br/><br/> Like many <i>ukiyo-e</i> artists, Chikanobu turned his attention towards a great variety of subjects. His work ranged from Japanese mythology to depictions of the battlefields of his lifetime to women's fashions. As well as a number of the other artists of this period, he too portrayed kabuki actors in character, and is well-known for his impressions of the <i>mie</i> (formal pose) of kabuki productions.<br/><br/> Chikanobu was known as a master of <i>bijinga</i>, images of beautiful women, and for illustrating changes in women's fashion, including both traditional and Western clothing. His work illustrated the changes in coiffures and make-up across time. For example, in Chikanobu's images in Mirror of Ages (1897), the hair styles of the Tenmei era, 1781-1789 are distinguished from those of the Keio era, 1865-1867.
'Almeh' or 'Alma' is a term applied in Egyptian Arabic to female entertainers or dancing girls, also sometimes as professional mourners.
Plaza de la Catedral is one of Old Havana’s squares, this cobbled open area (pedestrians only) is surrounded by fine buildings and home to the most colourful of all La Habana Vieja’s street people and performance artists. They range from Santería priestesses through sharp-suited street dancers to flower girls and Rastafarians.<br/><br/> The baroque Catedral de la Habana, dating from 1777, dominates the square. Officially the Catedral de la Virgen María de la Concepción Immaculada, the great, brass-bound wooden doors are particularly impressive – locals rap them for good luck at New Year! Other fine buildings around the square include the Casa del Marques de Arcos, today an art gallery, and the Casa de Lombillo (1741) which now houses the Museo de la Educación. Directly opposite the cathedral is the fully restored Casa del Conde de Casa Bayona (1720), a fine colonial building which contains the Museo de Arte Colonial.<br/><br/> La Habana Vieja (Old Havana) was declared a National Monument in 1977, and a UNESCO World Heritage Site in 1982. It is the most significant centre of Spain’s colonial heritage in all the Americas.
Plaza de la Catedral is one of Old Havana’s squares, this cobbled open area (pedestrians only) is surrounded by fine buildings and home to the most colourful of all La Habana Vieja’s street people and performance artists. They range from Santería priestesses through sharp-suited street dancers to flower girls and Rastafarians.<br/><br/> The baroque Catedral de la Habana, dating from 1777, dominates the square. Officially the Catedral de la Virgen María de la Concepción Immaculada, the great, brass-bound wooden doors are particularly impressive – locals rap them for good luck at New Year! Other fine buildings around the square include the Casa del Marques de Arcos, today an art gallery, and the Casa de Lombillo (1741) which now houses the Museo de la Educación. Directly opposite the cathedral is the fully restored Casa del Conde de Casa Bayona (1720), a fine colonial building which contains the Museo de Arte Colonial.<br/><br/> La Habana Vieja (Old Havana) was declared a National Monument in 1977, and a UNESCO World Heritage Site in 1982. It is the most significant centre of Spain’s colonial heritage in all the Americas.
Kisaeng (also spelled gisaeng), sometimes called ginyeo, were female official prostitutes or entertainers. Kisaeng are artists who work to entertain others, such as the yangban aristocracy and kings.<br/><br/> First appearing in the Goryeo Dynasty, kisaeng were legally entertainers of the government, required to perform various functions for the state. Many were employed at court, but they were also spread throughout the country. They were carefully trained, and frequently accomplished in the fine arts, poetry, and prose, although their talents were often ignored due to their inferior social status.<br/><br/> Women of the kisaeng class performed various roles, although they were all of the same low status in the eyes of yangban society. Aside from entertainment, these roles included medical care and needlework. In some cases, such as at army bases, kisaeng were expected to fill several such roles.<br/><br/> Kisaeng, both historic and fictional, play an important role in Korean conceptions of the traditional culture of the Joseon Dynasty. Some of Korea's oldest and most popular stories, such as the tale of Chunhyang, feature kisaeng as heroines. Although the names of most real kisaeng have been forgotten, a few are remembered for an outstanding attribute, such as talent or loyalty. The most famous of these is the 16th-century kisaeng Hwang Jin-i.
Kisaeng (also spelled gisaeng), sometimes called ginyeo, were female official prostitutes or entertainers. Kisaeng are artists who work to entertain others, such as the yangban aristocracy and kings.<br/><br/> First appearing in the Goryeo Dynasty, kisaeng were legally entertainers of the government, required to perform various functions for the state. Many were employed at court, but they were also spread throughout the country. They were carefully trained, and frequently accomplished in the fine arts, poetry, and prose, although their talents were often ignored due to their inferior social status.<br/><br/> Women of the kisaeng class performed various roles, although they were all of the same low status in the eyes of yangban society. Aside from entertainment, these roles included medical care and needlework. In some cases, such as at army bases, kisaeng were expected to fill several such roles.<br/><br/> Kisaeng, both historic and fictional, play an important role in Korean conceptions of the traditional culture of the Joseon Dynasty. Some of Korea's oldest and most popular stories, such as the tale of Chunhyang, feature kisaeng as heroines. Although the names of most real kisaeng have been forgotten, a few are remembered for an outstanding attribute, such as talent or loyalty. The most famous of these is the 16th-century kisaeng Hwang Jin-i.
Kisaeng (also spelled gisaeng), sometimes called ginyeo, were female official prostitutes or entertainers. Kisaeng are artists who work to entertain others, such as the yangban aristocracy and kings.<br/><br/> First appearing in the Goryeo Dynasty, kisaeng were legally entertainers of the government, required to perform various functions for the state. Many were employed at court, but they were also spread throughout the country. They were carefully trained, and frequently accomplished in the fine arts, poetry, and prose, although their talents were often ignored due to their inferior social status.<br/><br/> Women of the kisaeng class performed various roles, although they were all of the same low status in the eyes of yangban society. Aside from entertainment, these roles included medical care and needlework. In some cases, such as at army bases, kisaeng were expected to fill several such roles.<br/><br/> Kisaeng, both historic and fictional, play an important role in Korean conceptions of the traditional culture of the Joseon Dynasty. Some of Korea's oldest and most popular stories, such as the tale of Chunhyang, feature kisaeng as heroines. Although the names of most real kisaeng have been forgotten, a few are remembered for an outstanding attribute, such as talent or loyalty. The most famous of these is the 16th-century kisaeng Hwang Jin-i.
Kisaeng (also spelled gisaeng), sometimes called ginyeo, were female official prostitutes or entertainers. Kisaeng are artists who work to entertain others, such as the yangban aristocracy and kings.<br/><br/> First appearing in the Goryeo Dynasty, kisaeng were legally entertainers of the government, required to perform various functions for the state. Many were employed at court, but they were also spread throughout the country. They were carefully trained, and frequently accomplished in the fine arts, poetry, and prose, although their talents were often ignored due to their inferior social status.<br/><br/> Women of the kisaeng class performed various roles, although they were all of the same low status in the eyes of yangban society. Aside from entertainment, these roles included medical care and needlework. In some cases, such as at army bases, kisaeng were expected to fill several such roles.<br/><br/> Kisaeng, both historic and fictional, play an important role in Korean conceptions of the traditional culture of the Joseon Dynasty. Some of Korea's oldest and most popular stories, such as the tale of Chunhyang, feature kisaeng as heroines. Although the names of most real kisaeng have been forgotten, a few are remembered for an outstanding attribute, such as talent or loyalty. The most famous of these is the 16th-century kisaeng Hwang Jin-i.
Kisaeng (also spelled gisaeng), sometimes called ginyeo, were female official prostitutes or entertainers. Kisaeng are artists who work to entertain others, such as the yangban aristocracy and kings.<br/><br/> First appearing in the Goryeo Dynasty, kisaeng were legally entertainers of the government, required to perform various functions for the state. Many were employed at court, but they were also spread throughout the country. They were carefully trained, and frequently accomplished in the fine arts, poetry, and prose, although their talents were often ignored due to their inferior social status.<br/><br/> Women of the kisaeng class performed various roles, although they were all of the same low status in the eyes of yangban society. Aside from entertainment, these roles included medical care and needlework. In some cases, such as at army bases, kisaeng were expected to fill several such roles.<br/><br/> Kisaeng, both historic and fictional, play an important role in Korean conceptions of the traditional culture of the Joseon Dynasty. Some of Korea's oldest and most popular stories, such as the tale of Chunhyang, feature kisaeng as heroines. Although the names of most real kisaeng have been forgotten, a few are remembered for an outstanding attribute, such as talent or loyalty. The most famous of these is the 16th-century kisaeng Hwang Jin-i.
Kisaeng (also spelled gisaeng), sometimes called ginyeo, were female official prostitutes or entertainers. Kisaeng are artists who work to entertain others, such as the yangban aristocracy and kings.<br/><br/> First appearing in the Goryeo Dynasty, kisaeng were legally entertainers of the government, required to perform various functions for the state. Many were employed at court, but they were also spread throughout the country. They were carefully trained, and frequently accomplished in the fine arts, poetry, and prose, although their talents were often ignored due to their inferior social status.<br/><br/> Women of the kisaeng class performed various roles, although they were all of the same low status in the eyes of yangban society. Aside from entertainment, these roles included medical care and needlework. In some cases, such as at army bases, kisaeng were expected to fill several such roles.<br/><br/> Kisaeng, both historic and fictional, play an important role in Korean conceptions of the traditional culture of the Joseon Dynasty. Some of Korea's oldest and most popular stories, such as the tale of Chunhyang, feature kisaeng as heroines. Although the names of most real kisaeng have been forgotten, a few are remembered for an outstanding attribute, such as talent or loyalty. The most famous of these is the 16th-century kisaeng Hwang Jin-i.
Kisaeng (also spelled gisaeng), sometimes called ginyeo, were female official prostitutes or entertainers. Kisaeng are artists who work to entertain others, such as the yangban aristocracy and kings.<br/><br/> First appearing in the Goryeo Dynasty, kisaeng were legally entertainers of the government, required to perform various functions for the state. Many were employed at court, but they were also spread throughout the country. They were carefully trained, and frequently accomplished in the fine arts, poetry, and prose, although their talents were often ignored due to their inferior social status.<br/><br/> Women of the kisaeng class performed various roles, although they were all of the same low status in the eyes of yangban society. Aside from entertainment, these roles included medical care and needlework. In some cases, such as at army bases, kisaeng were expected to fill several such roles.<br/><br/> Kisaeng, both historic and fictional, play an important role in Korean conceptions of the traditional culture of the Joseon Dynasty. Some of Korea's oldest and most popular stories, such as the tale of Chunhyang, feature kisaeng as heroines. Although the names of most real kisaeng have been forgotten, a few are remembered for an outstanding attribute, such as talent or loyalty. The most famous of these is the 16th-century kisaeng Hwang Jin-i.
Khmer classical dance is a traditional form of dance in Cambodia which shares many similarities with classical dances of Thailand and Laos. The Cambodian form is known by various names in English, such as Khmer Royal Ballet and Cambodian Court Dance. Being a highly stylized art form performed primarily by females, Khmer classical dance, during the French protectorate era, was largely confined to the courts of royal palaces, performed by the consorts, concubines, relatives, and attendants of the palace.
Khmer classical dance is a traditional form of dance in Cambodia which shares many similarities with classical dances of Thailand and Laos. The Cambodian form is known by various names in English, such as Khmer Royal Ballet and Cambodian Court Dance. Being a highly stylized art form performed primarily by females, Khmer classical dance, during the French protectorate era, was largely confined to the courts of royal palaces, performed by the consorts, concubines, relatives, and attendants of the palace.
Kisaeng (also spelled gisaeng), sometimes called ginyeo, were female official prostitutes or entertainers. Kisaeng are artists who work to entertain others, such as the yangban aristocracy and kings.<br/><br/> First appearing in the Goryeo Dynasty, kisaeng were legally entertainers of the government, required to perform various functions for the state. Many were employed at court, but they were also spread throughout the country. They were carefully trained, and frequently accomplished in the fine arts, poetry, and prose, although their talents were often ignored due to their inferior social status.<br/><br/> Women of the kisaeng class performed various roles, although they were all of the same low status in the eyes of yangban society. Aside from entertainment, these roles included medical care and needlework. In some cases, such as at army bases, kisaeng were expected to fill several such roles.<br/><br/> Kisaeng, both historic and fictional, play an important role in Korean conceptions of the traditional culture of the Joseon Dynasty. Some of Korea's oldest and most popular stories, such as the tale of Chunhyang, feature kisaeng as heroines. Although the names of most real kisaeng have been forgotten, a few are remembered for an outstanding attribute, such as talent or loyalty. The most famous of these is the 16th-century kisaeng Hwang Jin-i.
Kisaeng (also spelled gisaeng), sometimes called ginyeo, were female official prostitutes or entertainers. Kisaeng are artists who work to entertain others, such as the yangban aristocracy and kings.<br/><br/> First appearing in the Goryeo Dynasty, kisaeng were legally entertainers of the government, required to perform various functions for the state. Many were employed at court, but they were also spread throughout the country. They were carefully trained, and frequently accomplished in the fine arts, poetry, and prose, although their talents were often ignored due to their inferior social status.<br/><br/> Women of the kisaeng class performed various roles, although they were all of the same low status in the eyes of yangban society. Aside from entertainment, these roles included medical care and needlework. In some cases, such as at army bases, kisaeng were expected to fill several such roles.<br/><br/> Kisaeng, both historic and fictional, play an important role in Korean conceptions of the traditional culture of the Joseon Dynasty. Some of Korea's oldest and most popular stories, such as the tale of Chunhyang, feature kisaeng as heroines. Although the names of most real kisaeng have been forgotten, a few are remembered for an outstanding attribute, such as talent or loyalty. The most famous of these is the 16th-century kisaeng Hwang Jin-i.
Kisaeng (also spelled gisaeng), sometimes called ginyeo, were female official prostitutes or entertainers. Kisaeng are artists who work to entertain others, such as the yangban aristocracy and kings.<br/><br/> First appearing in the Goryeo Dynasty, kisaeng were legally entertainers of the government, required to perform various functions for the state. Many were employed at court, but they were also spread throughout the country. They were carefully trained, and frequently accomplished in the fine arts, poetry, and prose, although their talents were often ignored due to their inferior social status.<br/><br/> Women of the kisaeng class performed various roles, although they were all of the same low status in the eyes of yangban society. Aside from entertainment, these roles included medical care and needlework. In some cases, such as at army bases, kisaeng were expected to fill several such roles.<br/><br/> Kisaeng, both historic and fictional, play an important role in Korean conceptions of the traditional culture of the Joseon Dynasty. Some of Korea's oldest and most popular stories, such as the tale of Chunhyang, feature kisaeng as heroines. Although the names of most real kisaeng have been forgotten, a few are remembered for an outstanding attribute, such as talent or loyalty. The most famous of these is the 16th-century kisaeng Hwang Jin-i.
Kisaeng (also spelled gisaeng), sometimes called ginyeo, were female official prostitutes or entertainers. Kisaeng are artists who work to entertain others, such as the yangban aristocracy and kings.<br/><br/> First appearing in the Goryeo Dynasty, kisaeng were legally entertainers of the government, required to perform various functions for the state. Many were employed at court, but they were also spread throughout the country. They were carefully trained, and frequently accomplished in the fine arts, poetry, and prose, although their talents were often ignored due to their inferior social status.<br/><br/> Women of the kisaeng class performed various roles, although they were all of the same low status in the eyes of yangban society. Aside from entertainment, these roles included medical care and needlework. In some cases, such as at army bases, kisaeng were expected to fill several such roles.<br/><br/> Kisaeng, both historic and fictional, play an important role in Korean conceptions of the traditional culture of the Joseon Dynasty. Some of Korea's oldest and most popular stories, such as the tale of Chunhyang, feature kisaeng as heroines. Although the names of most real kisaeng have been forgotten, a few are remembered for an outstanding attribute, such as talent or loyalty. The most famous of these is the 16th-century kisaeng Hwang Jin-i.
Kisaeng (also spelled gisaeng), sometimes called ginyeo, were female official prostitutes or entertainers. Kisaeng are artists who work to entertain others, such as the yangban aristocracy and kings.<br/><br/> First appearing in the Goryeo Dynasty, kisaeng were legally entertainers of the government, required to perform various functions for the state. Many were employed at court, but they were also spread throughout the country. They were carefully trained, and frequently accomplished in the fine arts, poetry, and prose, although their talents were often ignored due to their inferior social status.<br/><br/> Women of the kisaeng class performed various roles, although they were all of the same low status in the eyes of yangban society. Aside from entertainment, these roles included medical care and needlework. In some cases, such as at army bases, kisaeng were expected to fill several such roles.<br/><br/> Kisaeng, both historic and fictional, play an important role in Korean conceptions of the traditional culture of the Joseon Dynasty. Some of Korea's oldest and most popular stories, such as the tale of Chunhyang, feature kisaeng as heroines. Although the names of most real kisaeng have been forgotten, a few are remembered for an outstanding attribute, such as talent or loyalty. The most famous of these is the 16th-century kisaeng Hwang Jin-i.
According to legend, the origins of Kandyan dance lie in an exorcism ritual known as the Kohomba Kankariya, which was originally performed by Indian shamans who came to Sri Lanka.<br/><br/> It was originally performed by dancers who were identified as a separate caste under the Kandyan feudal system. They were aligned to the Temple of the Tooth and had a significant role to play in the Dalada Perahera (procession) held each year by the temple.<br/><br/> Even though originally only males were allowed train as dancers, there are now several schools which also train women in the Kandyan dance form. However there is no definite Ves costume for women, and many female dancers have adapted the male costume in different ways.
According to legend, the origins of Kandyan dance lie in an exorcism ritual known as the Kohomba Kankariya, which was originally performed by Indian shamans who came to Sri Lanka.<br/><br/> It was originally performed by dancers who were identified as a separate caste under the Kandyan feudal system. They were aligned to the Temple of the Tooth and had a significant role to play in the Dalada Perahera (procession) held each year by the temple.<br/><br/> Even though originally only males were allowed train as dancers, there are now several schools which also train women in the Kandyan dance form. However there is no definite Ves costume for women, and many female dancers have adapted the male costume in different ways.
The repertoire of Ruhunu dancing has its origins in the rituals of the Devol Maduwa - used to propitiate the Deity/demon Devol - and in exorcistic rituals known as the Rata Yakuma and the Sanni Yakuma - associated with various demons who are supposed to cause a variety of afflictions and incurable illnesses.
The repertoire of Ruhunu dancing has its origins in the rituals of the Devol Maduwa - used to propitiate the Deity/demon Devol - and in exorcistic rituals known as the Rata Yakuma and the Sanni Yakuma - associated with various demons who are supposed to cause a variety of afflictions and incurable illnesses.
Kitab al-aghani (Arabic: كتاب الأغاني‎, The Book of Songs), is an encyclopedic collection of poems and songs that runs to over 20 volumes in modern editions by the 8th/9th-century litterateur Abu l-Faraj al-Isfahani.<br/><br/> Abu l-Faraj claimed to have taken 50 years in writing the work, which ran to over 10,000 pages. It can be seen as having three distinct sections: the first dealing with the '100 Best Songs' chosen for the caliph Harun al-Rashid, the second with royal composers and the third with songs chosen by the author himself.<br/><br/> It spans the period from the Jahiliyya to the end of the 9th century CE. Abu l-Faraj importantly included performance directions for many of the songs included in Kitab al-aghani though while these shed valuable light on Arabic musical practice at the time they are largely meaningless for a modern-day audience. Due to the accompanying biographical annotations on the personages in Kitab al-aghani the work is an important historical and literary historical source; it is also useful for those interested in the sociology of Arabic literature.
A peep show or peepshow is an exhibition of pictures, objects or people viewed through a small hole or magnifying glass. 19th century Chinese peep shows were known by many names including la yang p'ien ('pulling foreign picture cards'). Sometimes the showman would perform for a crowd with puppets or pictures outside the box and then charge people extra to look through the holes.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
Kisaeng (also spelled gisaeng), sometimes called ginyeo, were female official prostitutes or entertainers. Kisaeng are artists who work to entertain others, such as the yangban aristocracy and kings.<br/><br/>First appearing in the Goryeo Dynasty, kisaeng were legally entertainers of the government, required to perform various functions for the state. Many were employed at court, but they were also spread throughout the country. They were carefully trained, and frequently accomplished in the fine arts, poetry, and prose, although their talents were often ignored due to their inferior social status.<br/><br/>Women of the kisaeng class performed various roles, although they were all of the same low status in the eyes of yangban society. Aside from entertainment, these roles included medical care and needlework. In some cases, such as at army bases, kisaeng were expected to fill several such roles.<br/><br/>Kisaeng, both historic and fictional, play an important role in Korean conceptions of the traditional culture of the Joseon Dynasty. Some of Korea's oldest and most popular stories, such as the tale of Chunhyang, feature kisaeng as heroines. Although the names of most real kisaeng have been forgotten, a few are remembered for an outstanding attribute, such as talent or loyalty. The most famous of these is the 16th-century kisaeng Hwang Jin-i.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
Image from the diary of Carl Johan Gethe, a cartographer on board the Gotha Leyon, which left Sweden on a three year trading expedition in 1746. Gethe's diary or Dagbok is titled: Dagbok hallen pa resan till Ost Indien begynt den 18 octobr: 1746 och slutad den 20 juni 1749 or ‘Diary of a journey to East India begun on 18 October 1746 and ending June 20, 1749’.<br><br/> The Swedish East India Company (Swedish: Svenska Ostindiska Companiet or SOIC) was founded in Gothenburg, Sweden, in 1731 for the purpose of conducting trade with the Far East, and grew to become the largest trading company in Sweden during the 18th century. It closed in 1813.
Vietnam's independence was gradually eroded by France in a series of military conquests from 1859 until 1885 when the entire country became part of French Indochina. Significant political and cultural changes were placed on the Vietnamese people, including the propagation of Roman Catholicism. When Emperor Thanh Thai, who was opposed to French colonial rule, was exiled in 1907, the French decided to pass the throne to his son who was only seven years old, because they thought someone so young would be easily influenced and controlled. The boy emperor, Duy Tan, ruled as emperor of the Nguyen Dynasty from 1907 to 1916 before fleeing from Hue to resist the French.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
Siamese dance is an elegant art form refined over centuries and supported by regal patronage. The Thais reputedly first acquired a dance troupe when, in 1431 CE, they conquered the ancient Khmer capital of Angkor and took as part of their booty an entire corps de ballet - dancers whose performances had once been seen as a symbolic link between nature, earth and the realm of the gods. The two major forms of Thai classical dance drama are 'khon' and 'lakon nai'. In the beginning, both were exclusively court entertainments and it was not until much later that a popular style of dance theater, 'Likay', evolved as a diversion for the common folk who had no access to royal performances.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
Kisaeng (also spelled gisaeng), sometimes called ginyeo, were female official prostitutes or entertainers. Kisaeng are artists who work to entertain others, such as the yangban aristocracy and kings.<br/><br/> First appearing in the Goryeo Dynasty, kisaeng were legally entertainers of the government, required to perform various functions for the state. Many were employed at court, but they were also spread throughout the country. They were carefully trained, and frequently accomplished in the fine arts, poetry, and prose, although their talents were often ignored due to their inferior social status.<br/><br/> Women of the kisaeng class performed various roles, although they were all of the same low status in the eyes of yangban society. Aside from entertainment, these roles included medical care and needlework. In some cases, such as at army bases, kisaeng were expected to fill several such roles.<br/><br/> Kisaeng, both historic and fictional, play an important role in Korean conceptions of the traditional culture of the Joseon Dynasty. Some of Korea's oldest and most popular stories, such as the tale of Chunhyang, feature kisaeng as heroines. Although the names of most real kisaeng have been forgotten, a few are remembered for an outstanding attribute, such as talent or loyalty. The most famous of these is the 16th-century kisaeng Hwang Jin-i.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
Khmer classical dance is a traditional form of dance in Cambodia which shares many similarities with classical dances of Thailand and Laos. The Cambodian form is known by various names in English, such as Khmer Royal Ballet and Cambodian Court Dance. Being a highly stylized art form performed primarily by females, Khmer classical dance, during the French protectorate era, was largely confined to the courts of royal palaces, performed by the consorts, concubines, relatives, and attendants of the palace.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
Kisaeng (also spelled gisaeng), sometimes called ginyeo, were female official prostitutes or entertainers. Kisaeng are artists who work to entertain others, such as the yangban aristocracy and kings.<br/><br/> First appearing in the Goryeo Dynasty, kisaeng were legally entertainers of the government, required to perform various functions for the state. Many were employed at court, but they were also spread throughout the country. They were carefully trained, and frequently accomplished in the fine arts, poetry, and prose, although their talents were often ignored due to their inferior social status.<br/><br/> Women of the kisaeng class performed various roles, although they were all of the same low status in the eyes of yangban society. Aside from entertainment, these roles included medical care and needlework. In some cases, such as at army bases, kisaeng were expected to fill several such roles.<br/><br/> Kisaeng, both historic and fictional, play an important role in Korean conceptions of the traditional culture of the Joseon Dynasty. Some of Korea's oldest and most popular stories, such as the tale of Chunhyang, feature kisaeng as heroines. Although the names of most real kisaeng have been forgotten, a few are remembered for an outstanding attribute, such as talent or loyalty. The most famous of these is the 16th-century kisaeng Hwang Jin-i.
A 'chapei dong veng' is a Khmer two-stringed, long-necked traditional guitar. The girl in the picture would most likely have played to the court of King Sisowath Monivong who was the king of Cambodia from 1927 until 1941.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
Kisaeng (also spelled gisaeng), sometimes called ginyeo, were female official prostitutes or entertainers. Kisaeng are artists who work to entertain others, such as the yangban aristocracy and kings.<br/><br/>First appearing in the Goryeo Dynasty, kisaeng were legally entertainers of the government, required to perform various functions for the state. Many were employed at court, but they were also spread throughout the country. They were carefully trained, and frequently accomplished in the fine arts, poetry, and prose, although their talents were often ignored due to their inferior social status.<br/><br/>Women of the kisaeng class performed various roles, although they were all of the same low status in the eyes of yangban society. Aside from entertainment, these roles included medical care and needlework. In some cases, such as at army bases, kisaeng were expected to fill several such roles.<br/><br/>Kisaeng, both historic and fictional, play an important role in Korean conceptions of the traditional culture of the Joseon Dynasty. Some of Korea's oldest and most popular stories, such as the tale of Chunhyang, feature kisaeng as heroines. Although the names of most real kisaeng have been forgotten, a few are remembered for an outstanding attribute, such as talent or loyalty. The most famous of these is the 16th-century kisaeng Hwang Jin-i.
Kisaeng (also spelled gisaeng), sometimes called ginyeo, were female official prostitutes or entertainers. Kisaeng are artists who work to entertain others, such as the yangban aristocracy and kings.<br/><br/>First appearing in the Goryeo Dynasty, kisaeng were legally entertainers of the government, required to perform various functions for the state. Many were employed at court, but they were also spread throughout the country. They were carefully trained, and frequently accomplished in the fine arts, poetry, and prose, although their talents were often ignored due to their inferior social status.<br/><br/>Women of the kisaeng class performed various roles, although they were all of the same low status in the eyes of yangban society. Aside from entertainment, these roles included medical care and needlework. In some cases, such as at army bases, kisaeng were expected to fill several such roles.<br/><br/>Kisaeng, both historic and fictional, play an important role in Korean conceptions of the traditional culture of the Joseon Dynasty. Some of Korea's oldest and most popular stories, such as the tale of Chunhyang, feature kisaeng as heroines. Although the names of most real kisaeng have been forgotten, a few are remembered for an outstanding attribute, such as talent or loyalty. The most famous of these is the 16th-century kisaeng Hwang Jin-i.
Kisaeng (also spelled gisaeng), sometimes called ginyeo, were female official prostitutes or entertainers. Kisaeng are artists who work to entertain others, such as the yangban aristocracy and kings.<br/><br/> First appearing in the Goryeo Dynasty, kisaeng were legally entertainers of the government, required to perform various functions for the state. Many were employed at court, but they were also spread throughout the country. They were carefully trained, and frequently accomplished in the fine arts, poetry, and prose, although their talents were often ignored due to their inferior social status.<br/><br/> Women of the kisaeng class performed various roles, although they were all of the same low status in the eyes of yangban society. Aside from entertainment, these roles included medical care and needlework. In some cases, such as at army bases, kisaeng were expected to fill several such roles.<br/><br/> Kisaeng, both historic and fictional, play an important role in Korean conceptions of the traditional culture of the Joseon Dynasty. Some of Korea's oldest and most popular stories, such as the tale of Chunhyang, feature kisaeng as heroines. Although the names of most real kisaeng have been forgotten, a few are remembered for an outstanding attribute, such as talent or loyalty. The most famous of these is the 16th-century kisaeng Hwang Jin-i.
Kisaeng (also spelled gisaeng), sometimes called ginyeo, were female official prostitutes or entertainers. Kisaeng are artists who work to entertain others, such as the yangban aristocracy and kings.<br/><br/> First appearing in the Goryeo Dynasty, kisaeng were legally entertainers of the government, required to perform various functions for the state. Many were employed at court, but they were also spread throughout the country. They were carefully trained, and frequently accomplished in the fine arts, poetry, and prose, although their talents were often ignored due to their inferior social status.<br/><br/> Women of the kisaeng class performed various roles, although they were all of the same low status in the eyes of yangban society. Aside from entertainment, these roles included medical care and needlework. In some cases, such as at army bases, kisaeng were expected to fill several such roles.<br/><br/> Kisaeng, both historic and fictional, play an important role in Korean conceptions of the traditional culture of the Joseon Dynasty. Some of Korea's oldest and most popular stories, such as the tale of Chunhyang, feature kisaeng as heroines. Although the names of most real kisaeng have been forgotten, a few are remembered for an outstanding attribute, such as talent or loyalty. The most famous of these is the 16th-century kisaeng Hwang Jin-i.
Kisaeng (also spelled gisaeng), sometimes called ginyeo, were female official prostitutes or entertainers. Kisaeng are artists who work to entertain others, such as the yangban aristocracy and kings.<br/><br/> First appearing in the Goryeo Dynasty, kisaeng were legally entertainers of the government, required to perform various functions for the state. Many were employed at court, but they were also spread throughout the country. They were carefully trained, and frequently accomplished in the fine arts, poetry, and prose, although their talents were often ignored due to their inferior social status.<br/><br/> Women of the kisaeng class performed various roles, although they were all of the same low status in the eyes of yangban society. Aside from entertainment, these roles included medical care and needlework. In some cases, such as at army bases, kisaeng were expected to fill several such roles.<br/><br/> Kisaeng, both historic and fictional, play an important role in Korean conceptions of the traditional culture of the Joseon Dynasty. Some of Korea's oldest and most popular stories, such as the tale of Chunhyang, feature kisaeng as heroines. Although the names of most real kisaeng have been forgotten, a few are remembered for an outstanding attribute, such as talent or loyalty. The most famous of these is the 16th-century kisaeng Hwang Jin-i.
The Shanghai Russians were a sizable Russian diaspora that flourished in Shanghai, China between the World Wars. By 1937 it is estimated that there were as many as 25,000 anti-Bolshevik Russians living in the city, the largest European group by far. Most of them had come from the Russian Far East, where, with the support of the Japanese, the Whites had maintained a presence as late as the autumn of 1922.<br/><br/> It was the contribution that Russian women made to the entertainment industry, dancing and otherwise, that helped give Shanghai its exotic reputation, noted in the guidebooks of the day. A fictionalized portrayal of their predicament is presented in the James Ivory film The White Countess (2005). Those who were left became the focus of earnest campaigns by the League of Nations and others to end the 'white slave trade'.