Womens 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)

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 misunderstanding
of the womans 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 16th
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 be unveiled before men other than their immediate
relatives. 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
Womens 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 gmlek, which was a chemise, made either of a mixture of cotton and
wool or silk gauze. Over the gmlek, 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 the
arm 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 individuals social and
economic status, Ottoman robes were designed and arranged specifically to reveal the layers
underneath. Open necklines and side slits intentionally exposed a robes 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 to
full length, although shorter knee length styles were worn. The sleeves were short, wrist or
ankle length. Under the gmlek, ankle length trousers, called alvar, 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 ukur, as a symbol of martial power and prestige. Several 16th century
belts in the Topkapi Saray Museum are presumed to be womens. 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

to the effect (of having brilliant and piercing eyes). They stain the nails both of their fingers
and 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

Few things are more difficult to document than that of the clothing styles of the 16th
century Ottoman female, and one of those things is 16th 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 of
individual 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 with
arm 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 body
positions in the artwork on the opposite page.

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 to
prevent idolatryIn 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 for
personal 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

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. United
Kingdom: 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: Freer
Gallery 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 /
Comdienne 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.

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)

Albrecht Durers The Turkish Family,

engraving 1497/1500
(Scott, 2001)

Turkish lady at home. Watercolour

painting from a travellers handbook,
Turkey, 1588.
(Scarce, 2003)

Turkish lady in outdoor dress.

Watercolour painting from a
travellers handbook, Turkey, 1588.
(Scarce, 2003)

Habitvs Praecipvorvm Popvlorvm, tam

virorvm qvam foeminarum Singulari
arte depicti. Trachtenbuch: Darin fast
allerley und der fr/nembsten
Nationen / die heutigs tags be/standt
sein/ Kleidungen, / Sic Tvrcae
discvmbvnt in solo super stratos
tapetes, quando cibum sumunt.
Turks eating; four male figures and
one female figure in Turkish dress
seated on a carpet around a large
bowl at centre.
1577
(The British Museum, 2010)

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.
(The British Museum, 2010)

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.
(The British Museum, 2010)

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 Tahmasps
Quintet of Nizami, c. 1540, Fogg Art
Museum, Harvard University, Cambridge,
Mass.
(Ferrier, 1989)

The Imperial procession marching to the

festival site (Lokmans 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)

Eight dancing boys attired in girls clothes

performing on a raft on the Golden Horn
(ibid)
1582
(And, 1987)

Recueil de divers portraits des principales

dames de la Porte du Grand
TurcComdienne 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.
(The British Museum, 2010)

c. 1597
(Turkish Culture Foundation, 2010)