Women and Dancers of the 16th Century Ottoman Empire

8/18/2019 Women and Dancers of the 16th Century Ottoman Empire

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Women’s Dress and Dance of the

16th Century Ottoman Empire

By Khayra bint Tahir ibn Rashid (aka) Kajira Camber

mka Kory Lewis

I am a harem woman, an Ottoman slave.

I was conceived in an act of contemptuous rape and born in a sumptuous palace.

Hot sand is my father; the Bosphorus, my mother; wisdom, my destiny; ignorance, my doom.

I am richly dressed and poorly regarded; I am a slave-owner and a slave.

I am anonymous, I am infamous; one thousand and one tales have been written about me.

My home is this place where gods are buried and devils breed, the land of holiness, the backyard of hell

--Anonymous (Croutier, 1989)


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My name is Khayra bint Tahir ibn Rashid. I am an odalisque residing in the Topkapi

Palace in Constantinople. Here I am trained in the arts of dancing, singing, music, sewing, and

all things necessary to make me into the perfect wife, if I am so chosen. There are so many

aspects of women in Ottoman society that one could write about. From the misunderstandingof the woman’s role in the harem to the controversy regarding what is the true history of the

Ottoman Empire as a whole. For the sake of respecting your time, I have decided to restrict my

writings to only include information regarding clothing and dance documented for the 16 th

century Ottoman female.

Careful rules governing the subject, composition, conventions of clothing limit the use of

manuscript illustrations as a source accurately documenting fashions in dress. Written

accounts are similarly limited, giving little of the detail required to reconstruct the appearance

and number of garments in a costume. As European visitors came more frequently to the

Ottoman Empire, and the traditions of Ottoman painting, which was a secular art of book

illustration recording in meticulous detail the exploits of sultans, court and public festivities,

enable the composition and arrangement of costume to be analyzed (Scarce, 2003, pp. 25-26).

Some are under the misunderstanding that at no time would a woman ever have appeared in

public without her head covered, but non-Muslim ethnic groups in Turkish cities were not

subject to the law forbidding women to beunveiled

before men other than their immediaterelatives. My preferred type of head covering is the turban. There is an inaccurate perception

that 16th century Ottoman women did not wear turbans, and that they only wore a headscarf or

veil, but after years of searching and archiving, I have found artwork of people wearing turbans

that are identified as women (see pictures on facing and following pages). In addition, the book

Women’s Costume of the Near and Middle East stated, “…her hair is dressed to fall smoothly

around her face and over her shoulders. Alternatively the hair could be dressed in long braids

and swathed with a turban.” (Scarce, 2003, p. 123) As for clothing, the piece that is worn

closest to the body is the gömlek, which was a chemise, made either of a mixture of cotton and

wool or silk gauze. Over the gömlek, an anteri is worn. As we can see in Turkish artwork,

there were a wide range of styles for the anteri. Their overall length ranged from mid-thigh to

ankle length. The sleeves varied in lengths, including sleeveless, short, elbow length, wrist

length, and sometimes the sleeves were so long they were either folded back or pushed up thearm in order to see or use the hands. The neck of the anteri also varied in which it could be a

snugly fit round neck, all the way to being a revealing V-neck. “Layering” was a main feature of

Ottoman dress. Since the number and type of layers indicated an individual’s social and

economic status, Ottoman robes were designed and arranged specifically to reveal the layers

underneath. Open necklines and side slits intentionally exposed a robe’s lining and the fine

fabric of undergarments. (Freer & Sackler, 2010). Sometimes over the anteri, a yelek is worn.

A yelek is a waistcoat that fits closely to the figure and usually has a row of little buttons close

together, starting at the bosom and reaching a little below the waist. They were usually ¾ to

full length, although shorter knee length styles were worn. The sleeves were short, wrist or

ankle length. Under the gömlek, ankle length trousers, called şalvar, are worn (Scarce, 2003, p.

49). I have been unable to ascertain the hem length of the skirts seen in Ottoman miniatures,but, from the artwork found on the following pages, it appears to be very full, due to the

number of pleats the artist portrays. The Ottomans were unusual among Islamic cultures for

not treating the sash, or uçkur, as a symbol of martial power and prestige. Several 16th centurybelts in the Topkapi Saray Museum are presumed to be women’s. They are of ivory, silver or

mother of pearl plaques, joined by links or mounted on leather. They are elaborately decorated

with gold or silver scrollwork, and set with jewels. (Finkelshteyn, 2007). In regards to

cosmetics, I found this passage in the book Picturesque Representations of the Dress and

Manners of the Turks, in which it is describing A Turkish Woman in the Dress Worn at

Constantinople, “…The custom too of drawing a small line above and beneath the eye-lash, adds


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to the effect (of having brilliant and piercing eyes). They stain the nails both of their fingersand feet of a bright rose colour.” (William, 1814, p. 84). For the fifteenth to seventeenth

centuries the (Ottoman) empire could draw on considerable resources in material and

manpower to clothe itself in style and elegance (Scarce, 2003, p. 41). All artwork is 1500-1600, please refer to larger versions found after the bibliography for descriptions, year, and citation

http://digitalgallery.nypl.org/nypldigital/dgkeysearchdetail.cfm?trg=1&strucID=1768850&imageID=1638266&total=63&num=40&word=turkish%20women&s=1&notword=&d=&c=&f=&k=0&lWord=&lField=&sScope=&sLevel=&sLabel=&imgs=20&pos=51&e=rhttp://digitalgallery.nypl.org/nypldigital/dgkeysearchdetail.cfm?trg=1&strucID=695714&imageID=811598&total=63&num=0&word=turkish%20women&s=1&notword=&d=&c=&f=&k=0&lWord=&lField=&sScope=&sLevel=&sLabel=&imgs=20&pos=18&e=r


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Few things are more difficult to document than that of the clothing styles of the 16 th

century Ottoman female, and one of those things is 16 th century Turkish dance. Belly dancing

is probably one of the oldest surviving dances in creation, and though its purest form may have

been lost, it undoubtedly retains some of its original elements. An abundance of evidence is

found in artwork and written descriptions of the dance that have survived, much of it from

ancient sources. What is unique about the belly dance is that its movements are focused in the

abdomen with the legs and arms being used to enhance the swaying, rotation, shaking, and

undulating movements of the torso and hips. There are not only differences in the styles ofindividual belly dancers, but particular characteristics that vary from country to country, and

many countries pride themselves on their own traditions of belly dancing. One style of belly

dancing recognized is Turkish. Exhibiting a faster and wilder style, most Turkish dancers are

very agile and athletic. They frequently close their performance to music with an irregular beat

called karsilama, one of several musical influences that likely originated with the Gypsies.

Despite the fact that different regions have their own style of belly dance, the basic makeup of

the dance transcends regional divisions. Dance movements can be classified as isolations or

undulations, meaning that either a body part is moved separately (isolation) or that several

body parts move in smooth, wavelike motion (undulation). One of the most recognizable

movements would be those concentrated on the hips, where up and/or down thrusts are

emphasized. In many circles, when the hips thrust or pop up, they are referred to as Turkish,and when they focus on a downward movement, they are labeled Arabic. Hip movements can

be circles, twists, pops, or rapid vibrations called shimmies. They can alternate between hips

or emphasize one hip exclusively. Undulations can be performed front to back or sided to side

and can be figure eights that are traced on a horizontal or vertical plane. (AlZayer, 2004). On

the facing page, I have supplied copies of various pieces of artwork depicting Turkish dancers

using various props, consisting of handkerchiefs, plates, and wooden castanets, body

movements and clothing styles. When a prop is depicted as being used with dancing, castanets

seems to be the favored prop, followed by a pair of handkerchiefs. In the artwork, you can see

the dancers’ arms in a variety of poses: both arms up, both arms to one side of the body; one

arm above the head while back arched and the other arm out behind the body; both elbows

bent with one arm angled up and one bent down (what is currently recognized as ‘snake

arms’). Some of the torso variations can also be seen: body fully bent forward at the hips witharm work below the body; back arched with head lifted to the sky while performing arm work;

torso rounded to the side with hips pressed to ones side to allow arm movements on the

opposite side. And, likewise, head positions can be identified: looking up; looking down;

looking to the side; looking behind the body. Due to the attempted ‘movement’ of the skirts and

anteri, one could assume that there was attempt to portray forward motion of the dancer, not

simply the movement of arms and torso. This is expressed in the art by having the skirts and

clothing portray an appearance of ‘flowing’ to one side of the body, causing the effect of the

person moving in the opposite direction. The position of the feet varies just as much as the rest

of the body. You can see examples of both feet on the ground, the dancer on their toes, the feet

shoulder width apart, flat footed, where one foot is flat and the other is up on the ball of the

foot, or where they are doing a cross step. You can find examples of each of these bodypositions in the artwork on the opposite page.


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When I initially started researching 16th century Turkish clothing and dancing, I was

already defeated in my search due to being informed that women were not allowed to be

painted due to religious beliefs of the Middle East. In my years of reading and collecting bits

and pieces of information regarding this subject, I have come to the realization that that

statement is false; it is just difficult to find! I recently found an article in a Smithsonian teachers

guide titled Arts of the Islamic World, which states, “Contrary to the assumption that the Koran

prohibits figural representation, it only warns against the creation and worship of idols toprevent idolatry…In general, figural imagery is excluded from works of art and architecture

made in the service of the faith, such as Korans, religious structures, and the furnishings for

these spaces. On the other hand, private buildings, objects, and manuscripts created forpersonal use and enjoyment were frequently embellished with figurative forms.” (Smithsonian

Institution, 2002, p. 24) So, as I continue to research this subject and grow in knowledge, so,

too, will my documentation. I hope you have enjoyed reading the information as much as I had

obtaining and performing it!

--The following pages contain larger copies of the pictures presented on the--

--previous pages for your enjoyment —


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Bibliography

AlZayer, P. (2004). World of Dance: Middle Eastern Dance. USA: Chelsea House Publishers.

And, M. (1987). Turkish Miniature Painting: The Ottoman Period. Turkey: Dost Publications.

Arthur M. Sackler Gallery, Smithsonian Institution. (2009). Falnama: The Book of Omens. UnitedKingdom: Thames & Hudson Ltd.

Brescia, S. (n.d.). Retrieved from Kat's Turban:

http://katerina.purplefiles.net/garb/diaries/Kat's%20Turban.htm

Croutier, A. L. (1989). Harem: The World Behind the Veil. New York: Abbeville Press.

Fehervari, G., & Safadi, Y. H. (1981). 1400 Years of Islamic Art: A Descriptive Catalogue. London: Khalili

Gallery.

Ferrier, R. (1989). The Arts of Persia. Hong Kong: Kwong Fat Offset Printing Co. Ltd.

Finkelshteyn, N. (2007). The Red Kaganate - Turkish Clothing. Retrieved 2011, from The Red Kagnate:

http://www.redkaganate.org/clothing/ottocloth.shtml

Freer & Sackler. (2010). Style and Status: Imperial Costumes From Ottoman Turkey . Retrieved 06 01,

2010, from The Smithsonian's Museums of Asian Art: http://www.asia.si.edu

Scarce, J. (2003). Women's Costume of the Near and Middle East. Great Britain: Antony Rowe Ltd.

Scott, P. (2001). Turkish Delights. London: Thames & Hudson.

Smithsonian Institution. (2002). Arts of the Islamic World: A Teacher's Guide. United Kingdom: FreerGallery of Art.

Sweezey, C. (2007). Plate #8c-Fourth to the Sith Centuries. Retrieved 2011, from The History of Costume

by Braun & Scheider: http://www.siue.edu/COSTUMES/PLATE8CX.HTML

The British Museum. (2010). eil de divers portraits des principales dames de la Porte du Grand Turc /

Comédienne Turque. Retrieved 2011, from The British Museum: http://www.britishmuseum.org

Turkish Culture Foundation. (2010). Retrieved 2010, from Turkish Cultural Foundation:

http://www.turkishculture.org

William, A. (1814). Picturesque Representations of the Dress and Manners of the Turks. London: W.

Bulmer and Co.


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Octagonal, painted in polychrome

under clear glaze: the portrait of a

lady holding a bouquet, against a

background of floral sprays; the

whole is framed by bands in

brownish-red and cobalt blue.

c. 1600

(Fehervari & Safadi, 1981)

The Harem in Topkapi Palace, from

“Codex Vindobonensis,” late 16th

century, Watercolor, Austrian

National Library, Vienna

(Croutier, 1989)


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Albrecht Durer’s The Turkish Family ,

engraving 1497/1500

(Scott, 2001)

Turkish lady at home. Watercolour

painting from a traveller’s handbook,Turkey, 1588.

(Scarce, 2003)


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Turkish lady in outdoor dress.

Watercolour painting from a

traveller’s handbook, Turkey, 1588.

(Scarce, 2003)

Habitvs Praecipvorvm Popvlorvm, tam

virorvm qvam foeminarum Singulari

arte depicti. Trachtenbuch: Darin fast

allerley und der für/nembsten

Nationen / die heutigs tags be/standt

sein/ Kleidungen, / Sic Tvrcae

discvmbvnt in solo super stratostapetes, quando cibum sumunt.

“Turks eating; four male figures andone female figure in Turkish dress

seated on a carpet around a large

bowl at centre.”

1577

(The British Museum, 2010)


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A Princely Couple with Attendants,

second quarter of 15th century;

Metropolitan Museum of Art Online.

The Queen of Sheba (Bilqis) and the

hoopoe, Solomon's messenger , a

drawing.

Safavid dynasty, about AD 1590 from

Qazvin, Iran. The British Museum

Online.



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Peter Mundy, A briefe relation of the

Turckes, their Kings, Emperors or

Grandsigneurs, their conquests,

religion, customes, habbits at

Constantinople, etc, Turkey AD c.

1600. The British Museum Online.



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http://digitalgallery.nypl.org/nypldigital/dgkeysearchdetail.cfm?trg=1&strucID=1768850&imageID=1638266&total=63&num=40&word=turkish%20women&s=1&notword=&d=&c=&f=&k=0&lWord=&lField=&sScope=&sLevel=&sLabel=&imgs=20&pos=51&e=rhttp://digitalgallery.nypl.org/nypldigital/dgkeysearchdetail.cfm?trg=1&strucID=695714&imageID=811598&total=63&num=0&word=turkish%20women&s=1&notword=&d=&c=&f=&k=0&lWord=&lField=&sScope=&sLevel=&sLabel=&imgs=20&pos=18&e=r


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Dancing Poses

Palace dancers, from “Codex

Vindobonensis,” late 16th century,

Watercolor, Austrian National Library,

Vienna

(Croutier, 1989)

Nightime in a Palace, attributed to Mir

Sayyid ‘Ali, from the Shah Tahmasp’s

Quintet of Nizami, c. 1540, Fogg ArtMuseum, Harvard University, Cambridge,

Mass.

(Ferrier, 1989)


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The Imperial procession marching to the

festival site (Lokman’s Surname-I

Humayun The Imperial Book of Festival

dating 1582-83 TSM H. 1344)

(And, 1987)

The display of rope dancers, jesters,

dancing boys and stilt dancers with

swords (ibid)

1582

(And, 1987)


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Eight dancing boys attired in girl’s clothesperforming on a raft on the Golden Horn

(ibid)

1582

(And, 1987)

Recueil de divers portraits des principales

dames de la Porte du Grand

TurcComédienne Turque, “Turkish actress,

dancing with some kind of musical

instruments in her hands, and wearing

headdress with long veil, jacket, see-through

skirt and baggy breeches.



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c. 1597

(Turkish Culture Foundation, 2010)


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Women and Dancers of the 16th Century Ottoman Empire

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