Abstract This essay analyzes how dance, gender, and state power function together as a significant node of critique in recent cultural production that addresses authoritarianism in Syria. Identifying the symbolic trope of dabke, a popular dance ubiquitous in Syrian life, selected films, literature, and choreography, this essay argues that the discussed works dislodge dabke from its feminized association with authenticity, folk culture, and nationhood to instead represent dabke as a form of hegemonic masculinity that perpetuates sovereignty, patriarchy, and autocracy. Through the rendering of embodied acts of dabke performance, hegemonic and resilient modes of masculinity are equated with spectacles of violence attached to the state, repressive tactics by the police state, and performative complicity with the regime. This essay argues that sovereign and autocratic forms of power are not universal abstractions but are embedded in the gendered structures of the society in which such power is performed.

中文翻译：

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“野蛮”达布克

摘要 本文分析了舞蹈、性别和国家权力如何作为一个重要的批判节点在最近解决叙利亚威权主义的文化生产中发挥作用。本文确定了 dabke 的象征性比喻，这是一种在叙利亚生活中普遍存在的流行舞蹈，选定的电影、文学和舞蹈，本文认为，所讨论的作品将 dabke 从其与真实性、民间文化和民族性的女性化联系中剔除，而是将 dabke 表示为霸权男子气概的形式，使主权，父权制和专制永久化。通过表现的具体表现，霸权和有弹性的阳刚之气模式被等同于附在国家的暴力场面、警察国家的镇压策略以及与政权的表演共谋。