Laurel V Gray
LAUREL VICTORIA GRAY
An award-winning choreographer, costume designer, scholar, and performer, Laurel Victoria Gray combines her degrees in history with decades of field research. For many years she taught Global Dance history at George Washington University, as well as at George Mason University. Her new book, Women's Dance Traditions of Uzbekistan: Legacy of the Silk Road, was published in 2024 by Bloomsbury Academic Press. Gray is the 2021 recipient of Uzbekistan’s Xalqlar Do’stligi (Friendship of the Peoples) medal for her work in promulgating Uzbek culture. Her articles have appeared in the Oxford University Press International Encyclopedia of Dance, the Encyclopedia of Modern Asia, Encyclopedia of Contemporary Theater - Asia, and the Encyclopedia of Women in Islamic Culture. Called “the pioneer of Uzbek dance in America,” Gray has studied dance in Central Asia and the Caucasus, including two years at the invitation of Uzbekistan's State Academic Bolshoi Theater. In 1995, she founded the Silk Road Dance Company which performed at the first White House Nowruz celebration as well as in Uzbekistan, Qatar, Singapore, London, and Toronto. She was awarded the 2003 Kennedy Center Local Dance Commissioning Project Award and, in 2009, delivered the Fulbright Association’s Selma Jeanne Cohen International Dance Scholar Lecture. She recently presented papers at conferences of the Central Eurasian Studies Society (2019), Uzbekistan’s Academy of Sciences (2020), Dance Studies Association (2021), and MENACA (2023). Gray studied history at Occidental College (B.A.), the University of Waterloo (M.A), and the University of Washington (Doctoral Candidate). She was awarded an honorary doctorate in 2009 from the Uzbekistan State Institute of Art and Culture. She has adjudicated several cultural competitions, including the first Sharq Taronanlari Festival held in Samarkand, and most recently the Lazgi International Dance Festival in Khiva, Uzbekistan. Her new book, Women’s Dances of Uzbekistan:Legacy of the Silk Road, will be published by Bloomsbury Academic Press in April of 2024. Gray also contributed a chapter on several Silk Road dance forms to Milestones in Dance History, 2022, and one about Tamara Khanum and Mukarram Turgunbaeva to the anthology Central Asian Women: Past and Present (2023). Her articles on dance have appeared in numerous American and foreign language publications.
Phone: 1-301-585-1105
Address: P.O. Box 11346
Takoma Park, Maryland 20913
United States
An award-winning choreographer, costume designer, scholar, and performer, Laurel Victoria Gray combines her degrees in history with decades of field research. For many years she taught Global Dance history at George Washington University, as well as at George Mason University. Her new book, Women's Dance Traditions of Uzbekistan: Legacy of the Silk Road, was published in 2024 by Bloomsbury Academic Press. Gray is the 2021 recipient of Uzbekistan’s Xalqlar Do’stligi (Friendship of the Peoples) medal for her work in promulgating Uzbek culture. Her articles have appeared in the Oxford University Press International Encyclopedia of Dance, the Encyclopedia of Modern Asia, Encyclopedia of Contemporary Theater - Asia, and the Encyclopedia of Women in Islamic Culture. Called “the pioneer of Uzbek dance in America,” Gray has studied dance in Central Asia and the Caucasus, including two years at the invitation of Uzbekistan's State Academic Bolshoi Theater. In 1995, she founded the Silk Road Dance Company which performed at the first White House Nowruz celebration as well as in Uzbekistan, Qatar, Singapore, London, and Toronto. She was awarded the 2003 Kennedy Center Local Dance Commissioning Project Award and, in 2009, delivered the Fulbright Association’s Selma Jeanne Cohen International Dance Scholar Lecture. She recently presented papers at conferences of the Central Eurasian Studies Society (2019), Uzbekistan’s Academy of Sciences (2020), Dance Studies Association (2021), and MENACA (2023). Gray studied history at Occidental College (B.A.), the University of Waterloo (M.A), and the University of Washington (Doctoral Candidate). She was awarded an honorary doctorate in 2009 from the Uzbekistan State Institute of Art and Culture. She has adjudicated several cultural competitions, including the first Sharq Taronanlari Festival held in Samarkand, and most recently the Lazgi International Dance Festival in Khiva, Uzbekistan. Her new book, Women’s Dances of Uzbekistan:Legacy of the Silk Road, will be published by Bloomsbury Academic Press in April of 2024. Gray also contributed a chapter on several Silk Road dance forms to Milestones in Dance History, 2022, and one about Tamara Khanum and Mukarram Turgunbaeva to the anthology Central Asian Women: Past and Present (2023). Her articles on dance have appeared in numerous American and foreign language publications.
Phone: 1-301-585-1105
Address: P.O. Box 11346
Takoma Park, Maryland 20913
United States
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Papers by Laurel V Gray
This chapter presents three examples of dance from along the Great Silk Road and their adoption, adaptation, and evolution in different eras. Through commerce during Tang Dynasty, Sogdian merchants from Central Asia created a sensational dance craze when they introduced their foreign dances in the Chinese capital of Chang’an. Their so-called “Sogdian whirl” was immortalized in Chinese poetry and art. The Moghul conquest of India transformed a religious dance into court as entertainment when it adapted to royal patronage of the cosmopolitan culture of the Muslim court. With the decline of the Moghuls and the British colonization of India, these court dancers lost status and patronage, only to be reinvented as “kathak” by Indian artists in the early 20th century. Another dance, bhangra, evolved from its roots as a Punjabi harvest dance into a symbol of national identity after the 1947 Partition of India. Its vigorous quality reflected the vitality of the new Indian nation while providing a sense of community for Punjabis abroad, spreading to diaspora communities in the US through college student groups and eventually gaining global popularity.
"Central Asia at the Crossroads of World Civilizations"
Khiva, Uzbekistan September 14-16, 2021
In this paper, the author considers how aspects of Khorezm history and traditions may provide solutions to global crises caused by climate change and COVID-19. Insights gleaned from archeology and literature reflect ritual connections to Anahita, a goddess of water and dance. Biomedical research, as well as personal experiences in Uzbek dance, provide insights into the healing benefits of Lazgi at a moment when humanity faces a global health crisis. Cultivating the embodied wisdom of ancient spiritual practices can guide future steps to healing the planet and ourselves.
This essay is intended for the general reader who has interest in women's dances, especially the traditions of the Caucasus.
This chapter presents three examples of dance from along the Great Silk Road and their adoption, adaptation, and evolution in different eras. Through commerce during Tang Dynasty, Sogdian merchants from Central Asia created a sensational dance craze when they introduced their foreign dances in the Chinese capital of Chang’an. Their so-called “Sogdian whirl” was immortalized in Chinese poetry and art. The Moghul conquest of India transformed a religious dance into court as entertainment when it adapted to royal patronage of the cosmopolitan culture of the Muslim court. With the decline of the Moghuls and the British colonization of India, these court dancers lost status and patronage, only to be reinvented as “kathak” by Indian artists in the early 20th century. Another dance, bhangra, evolved from its roots as a Punjabi harvest dance into a symbol of national identity after the 1947 Partition of India. Its vigorous quality reflected the vitality of the new Indian nation while providing a sense of community for Punjabis abroad, spreading to diaspora communities in the US through college student groups and eventually gaining global popularity.
In October of 1997, the Uzbek city of Bukhara celebrated the 2,500th anniversary of its founding. Archeologists have found artifacts dating back to the third and fourth centuries B.C. As an important city on the Great Silk Road, Bukhara felt the influences of Greek, Chinese, Indian, Arabic and Persian cultures. Shamanism, Zoroastrianism, Buddhism, Manicheism, and Islam have all been practiced here. Theories as to the origin of the name Bukhara bear testimony to the various peoples which have left their traces here. One account links the city with the term vihara which means Buddhist monastery. The Zoroastrian word bukhar, meaning “source of knowledge,” was mentioned by Hafizi Tanish in the sixteenth century as the root of the city’s name.
In October of 1997, the Uzbek city of Bukhara celebrated the 2,500th anniversary of its founding. Archeologists have found artifacts dating back to the third and fourth centuries B.C. As an important city on the Great Silk Road, Bukhara felt the influences of Greek, Chinese, Indian, Arabic and Persian cultures. Shamanism, Zoroastrianism, Buddhism, Manicheism, and Islam have all been practiced here. Theories as to the origin of the name Bukhara bear testimony to the various peoples which have left their traces here. One account links the city with the term vihara which means Buddhist monastery. The Zoroastrian word bukhar, meaning “source of knowledge,” was mentioned by Hafizi Tanish in the sixteenth century as the root of the city’s name.
Conference Presentations by Laurel V Gray
in Afghanistan under the Taliban; it is still outlawed in Iran. But contrary to these examples, the Muslim world possesses
a long, rich, and varied tradition of dance little known in the West. Not only does dance serve to unite communities, it also
allows an outlet for personal expression, encourages physical and martial arts training, and provides a vehicle for ritual and
spiritual practices. The late Lois Ibsen al Faruqi1, a specialist in Islamic culture, identified four categories of dance that
“have consistent significance for the Muslim peoples. These are: 1) combat dances; 2) solo improvisational dances; 3) chain
dances; and 4) religious dances of mystical brotherhoods.” Each genre contains countless variations, a tribute to the creative
genius of many ethnicities throughout many epochs.
This workshop introduces representative dances from each of the four categories, placing them in cultural context. To
understand the geographic and ethnic diversity in which these genres exist, dance vocabulary from Arab, Persian, Kurdish,
and Turkic traditions will be taught. Traditional garments from each of the represented regions will be shown in order to
demonstrate the ways costume can both enhance and restrict movement. Steps from Iraqi Kurdish line dance will introduce
participants to the binding power of the chain dance. Elements from the Egyptian raqs assaya will illustrate the vigor of the
traditional cane dance, a form derived from male combat dance. The introduction of movements typical of an Iranian social
form will provide participants with a basic vocabulary to experiment with solo improvisational dance. Finally, movement
used in the Turkic spiritual and ritual practice of zikr will be taught.
This chapter presents three examples of dance from along the Great Silk Road and their adoption, adaptation, and evolution in different eras. Through commerce during Tang Dynasty, Sogdian merchants from Central Asia created a sensational dance craze when they introduced their foreign dances in the Chinese capital of Chang’an. Their so-called “Sogdian whirl” was immortalized in Chinese poetry and art. The Moghul conquest of India transformed a religious dance into court as entertainment when it adapted to royal patronage of the cosmopolitan culture of the Muslim court. With the decline of the Moghuls and the British colonization of India, these court dancers lost status and patronage, only to be reinvented as “kathak” by Indian artists in the early 20th century. Another dance, bhangra, evolved from its roots as a Punjabi harvest dance into a symbol of national identity after the 1947 Partition of India. Its vigorous quality reflected the vitality of the new Indian nation while providing a sense of community for Punjabis abroad, spreading to diaspora communities in the US through college student groups and eventually gaining global popularity.
"Central Asia at the Crossroads of World Civilizations"
Khiva, Uzbekistan September 14-16, 2021
In this paper, the author considers how aspects of Khorezm history and traditions may provide solutions to global crises caused by climate change and COVID-19. Insights gleaned from archeology and literature reflect ritual connections to Anahita, a goddess of water and dance. Biomedical research, as well as personal experiences in Uzbek dance, provide insights into the healing benefits of Lazgi at a moment when humanity faces a global health crisis. Cultivating the embodied wisdom of ancient spiritual practices can guide future steps to healing the planet and ourselves.
This essay is intended for the general reader who has interest in women's dances, especially the traditions of the Caucasus.
This chapter presents three examples of dance from along the Great Silk Road and their adoption, adaptation, and evolution in different eras. Through commerce during Tang Dynasty, Sogdian merchants from Central Asia created a sensational dance craze when they introduced their foreign dances in the Chinese capital of Chang’an. Their so-called “Sogdian whirl” was immortalized in Chinese poetry and art. The Moghul conquest of India transformed a religious dance into court as entertainment when it adapted to royal patronage of the cosmopolitan culture of the Muslim court. With the decline of the Moghuls and the British colonization of India, these court dancers lost status and patronage, only to be reinvented as “kathak” by Indian artists in the early 20th century. Another dance, bhangra, evolved from its roots as a Punjabi harvest dance into a symbol of national identity after the 1947 Partition of India. Its vigorous quality reflected the vitality of the new Indian nation while providing a sense of community for Punjabis abroad, spreading to diaspora communities in the US through college student groups and eventually gaining global popularity.
In October of 1997, the Uzbek city of Bukhara celebrated the 2,500th anniversary of its founding. Archeologists have found artifacts dating back to the third and fourth centuries B.C. As an important city on the Great Silk Road, Bukhara felt the influences of Greek, Chinese, Indian, Arabic and Persian cultures. Shamanism, Zoroastrianism, Buddhism, Manicheism, and Islam have all been practiced here. Theories as to the origin of the name Bukhara bear testimony to the various peoples which have left their traces here. One account links the city with the term vihara which means Buddhist monastery. The Zoroastrian word bukhar, meaning “source of knowledge,” was mentioned by Hafizi Tanish in the sixteenth century as the root of the city’s name.
In October of 1997, the Uzbek city of Bukhara celebrated the 2,500th anniversary of its founding. Archeologists have found artifacts dating back to the third and fourth centuries B.C. As an important city on the Great Silk Road, Bukhara felt the influences of Greek, Chinese, Indian, Arabic and Persian cultures. Shamanism, Zoroastrianism, Buddhism, Manicheism, and Islam have all been practiced here. Theories as to the origin of the name Bukhara bear testimony to the various peoples which have left their traces here. One account links the city with the term vihara which means Buddhist monastery. The Zoroastrian word bukhar, meaning “source of knowledge,” was mentioned by Hafizi Tanish in the sixteenth century as the root of the city’s name.
in Afghanistan under the Taliban; it is still outlawed in Iran. But contrary to these examples, the Muslim world possesses
a long, rich, and varied tradition of dance little known in the West. Not only does dance serve to unite communities, it also
allows an outlet for personal expression, encourages physical and martial arts training, and provides a vehicle for ritual and
spiritual practices. The late Lois Ibsen al Faruqi1, a specialist in Islamic culture, identified four categories of dance that
“have consistent significance for the Muslim peoples. These are: 1) combat dances; 2) solo improvisational dances; 3) chain
dances; and 4) religious dances of mystical brotherhoods.” Each genre contains countless variations, a tribute to the creative
genius of many ethnicities throughout many epochs.
This workshop introduces representative dances from each of the four categories, placing them in cultural context. To
understand the geographic and ethnic diversity in which these genres exist, dance vocabulary from Arab, Persian, Kurdish,
and Turkic traditions will be taught. Traditional garments from each of the represented regions will be shown in order to
demonstrate the ways costume can both enhance and restrict movement. Steps from Iraqi Kurdish line dance will introduce
participants to the binding power of the chain dance. Elements from the Egyptian raqs assaya will illustrate the vigor of the
traditional cane dance, a form derived from male combat dance. The introduction of movements typical of an Iranian social
form will provide participants with a basic vocabulary to experiment with solo improvisational dance. Finally, movement
used in the Turkic spiritual and ritual practice of zikr will be taught.