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were known from the Old
Kingdom and were prized for their rarity and as dancers were hired for special occasions. The dances they performed were farewell performances associated with the departure of the sun. The dwarfs were used as they were thought to represent the sun due to their stunted growth.
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In the Old and Middle
Kingdoms, women's hair dress was characteristically “evenly cut and smoothly combed down, divided into two thinner plaits hanging from the shoulders down to the chest and one broad plait covering the upper part of the back.” Female dancers who did not have long hair resorted to
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Middle and New
Kingdom dancers never wore men's skirts, but did wear men's aprons without the scarf. By the New Kingdom, adult dancers appear more scantily clad, often wearing only a belt or scarf about their hips, sometimes with a transparent robe to allow observation of their bodies. New Kingdom
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There were two types of
Egyptian group dances. One was performed in individual movements that confirmed a theme or idea or was carried out spontaneously as in prehistoric times. Dancers competed with one another, often in groups, substituting movement that were later established in funeral dances
588:
After the New
Kingdom changes of tomb decoration took place funerary dances were no longer depicted on tomb walls but were found in temples instead. The dancing scenes portrayed in temples reflected both royal and divine ceremonies. All dancing scenes had one common feature that being the solemn
327:
Dancers adorned themselves with bracelets and ribbons or garlands on their heads. Old
Kingdom dancers would wear ribbons around their chests. New Kingdom dancers would wear floral collars, earrings and cones made of fragranced semi-solid fat or beeswax, used to give out a pleasant perfume as the
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Female dancers rarely wore the restrictive ordinary dress – a strapped white sheath starting at the bust and running down to the ankles. An exception in the Old
Kingdom was for funeral dances. Old Kingdom dancers are not only depicted in dresses but in men's aprons with a scarf or men's skirts.
405:
that played a prominent role in melodic compositions of ancient
Egyptians composers and musicians. It was rare to find wind or stringed instrument players close to dancers in the same scene. However, it was noted that whenever musicians are depicted, dancers were not generally far away.
644:
Feast of Min: god of fertility and regeneration: The dancers in this feast were members of his cult. Drawings representing this feast showed priests and monkeys dancing. These drawings could have had a symbolic meaning rather than an actual representation of
526:
The women in banquet scenes playing music and dancing for the deceased and his family, especially in New
Kingdom tombs, were not all professional and sometimes included close family relations. The scenes reflected what was hoped to be replayed in the
452:
or in groups, depending on the occasion and type of the dance performed. Individual or solo dances included performances by the king or priests designated as his representatives. The king would perform the sun dance and he or his deputy danced at the
546:
or muu dancers, existed across the
Kingdoms. They performed at various points in the funeral, wearing kilts and crowns of woven reed or palm fiber that signified their role as ferrymen. The crowns themselves were cone-shaped and resembled the king's
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dances took place during jubilee ceremonies which celebrated the renewal pledge to the king. Such dances varied in accordance to the religious significance and the reflection of the local mythology of the God to whom they were
538:
in the goddess's role as guide for the dead into the afterlife. It involved leaping or skipping and was accompanied by a sung or spoken prayer to the sounds of percussion, including the clapping of hands and sticks.
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of Upper Egypt. Through their dance, they symbolically delivered the deceased to the netherworld. One researcher finds that the "dances... made by the sacred dancers at the door of... tomb" in the
425:
Dance scholar and performer Elizabeth "Artemis" Mourat also categorized dances into six types: religious dances, non-religious dances, banquet dances, harem dances, combat dances and street dances.
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into the mild Hathor, thereby protecting the ancient land from Sekhmet's evil and deadly demons. These dances included all possible forms of movement including acrobats and exotic foreign dances.
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rites.(Lexová 1935) A second type featured pairs or ranks of dancers who executed repetitive movements in a circle. Banquets and festivals often included performances by trained pair dancers.
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Old Kingdom performers included a specialized group of female dancers called “the acacia house.” Dances by the acacia house followed mummification and were aimed at appeasing the goddess
414:
Lexová set out classifications for the various dances of the period: the purely movemental dance, the gymnastic dance, the imitative dance, the pair dance, the group dance, the
485:
female dancers are shown to hold hands while performing in unison. The dances used symmetrical and dramatic movements and conveyed emotions such as longing or depression.
343:, a god of fertility and childbirth affiliated with music and dance. It is unclear whether this decoration was unique to dancers or if women commonly had it applied.
623:
temple to visit the tombs on the West Bank passing by the sanctuary of Hathor. As the procession moved from one place to another, families rejoiced and danced.
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1523:
Manners and Customs of the Ancient Egyptians, including Their Private Life, Government, Laws, Art, Manufactures, Religion, Agriculture, and Early History
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and rejuvenating and mourning the dead. Khener dancers are often portrayed entertaining the rejuvenated deceased while he eats from the offering table.
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Lexova also added that dancers of that era used a short curved stick or cane while dancing, which is a prop still used by modern Egyptian dancers.
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A fragment of the frescoes on the wall of the tomb chapel of Nebamun, depicting guests, servants, musicians, and dancers at a funerary banquet
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Among the ornaments male dancers would wear were collars or chains around their necks, whereas the younger boys wore bracelets on their feet.
285:. Scholars recognize these dancers' origins by costume, hairstyle, and names in texts among other attributes. They apparently could join an
169:
from the 4th millennium B.C. The importance of dance appeared to lessen over time as dancing scenes became rare in the late Naqada period.
121:. Dance groups were accessible to perform at dinner parties, banquets, lodging houses, and even religious temples. Some women from wealthy
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1842:
1914:
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dancers also wore variations of ordinary dress in their transparent broad long cloaks. Dresses often left the right breast exposed.
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can also be used to describe a troupe of singers and dancers arranged through a bureau. Victorian scholars often confused the term
2143:
1971:
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Nile Flood Feast: (The New Year celebration): Dancing played a vital role in this festivity as it helped transform the dangerous
137:. Yet, no well-bred Egyptian would dance in public, because that was the privilege of the lower classes. Wealthy Egyptians kept
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played an important role in the lives of the ancient Egyptians. However, men and women are never depicted dancing together. The
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In pair dancing, two people of the same gender would perform together. This form of dancing was established by the
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temple. This procession was marked by groups of women doing acrobatic dances together with dark dancers, probably
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were itinerant, traveling from their permanent seat to offer their services as indicated in the story of
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thought to have existed are those associated with cults and temples, the king and funerary estates. The
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1155:"A Musical Bureau in the Old Kingdom - Arts and Humanities Through the Eras | HighBeam Research"
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Ross, Bertram, 1920- choreographer. Sapperstein, David, composer. Weissman, Rita, costume designer.,
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207:) often performed at important festivals and funerary services. These groups were referred to in the
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skirt; in the Old and Middle Kingdoms, they would also wear an apron with round edges in the front.
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were trained in music and dance. They danced for royalty accompanied by male musicians playing on
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are depicted as entertainers for religious ceremonies, entertaining the deceased kings, but the
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During the Middle and New Kingdom periods, a separate funeral dance was practiced dedicated to
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appear to have been dominated and headed by females until the latter days of the Old Kingdom.
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Dances associated with funerals included ritual, postures and gestures and secular dances.
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1152:"A Musical Bureau in the Old Kingdom." Arts and Humanities Through the Eras. Gale. 2005.
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is named the "Dance of the Weary-ones." The title referred to the deceased's ancestors.
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Tooley, Angela M.J. (1989). "Chapter Six: "Concubine" Figures in Mortuary Contexts".
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Female dancers are also depicted with a tattooed or painted symbol on their thigh of
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Torp, Lisbet; Raftis, Alkis; Doumas, Alexandra (1990). "The World of Greek Dance".
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585:. Lexová notes an image of the dancers of the dwarf dances wearing similar crowns.
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Among the festivals during which dancing took place the following are enumerated:
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indicate that some cult performances were only reserved for elite Egyptian women.
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267:. Dancers also took on work outside performances in order to support themselves.
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to entertain at their banquets and present pleasant diversion to their owners.
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Der Tanz im alten Ă„gypten. Traut Nach bildichen und inschriftlichen Zeugnissen
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Garfinkel Y (September 2003). "The Earliest Dancing Scenes in the Near East".
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come from scenes in Old Kingdom tombs of performers associated with funerals.
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rock carvings, a linen shroud, a wall painting, a clay model, and pottery in
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20,000 years of fashion : the history of costume and personal adornment
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Middle Kingdom Burial Customs. A Study of Wooden Models and Related Material
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due to poor understanding of the depictions and cultural differences. The
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Male dancers had short hair and typically wore the standard men's dress
157:. The earliest examples of Predynastic dancers come from pottery of the
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The ancient Egyptians used a vast array of musical instruments such as
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Before the New Kingdom, dancers were mostly accompanied by clapping or
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Bleiberg, Edward I., ed. (2005). "Ancient Egypt 2675-332 BCE: Dance".
629:: another event associated with God Amun's visit to his wife Goddess
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Lexová, Irena, Milada Lexová, Diane Bergman, and K. Haltmar (2000).
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2005:
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1083:. Vol. 1. Liverpool, UK: University of Liverpool. p. 325.
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981:. Translated by Haltmar, K. Mineola, New York: Dover Publications.
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481:. An image from this time depicted female pair dancers with canes.
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The oldest known depictions of dance in this region are found in
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1526:. Vol. II (3rd ed.). London: John Murray. p. 334.
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https://db0nus869y26v.cloudfront.net/en/Dance_in_ancient_Egypt
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Foreign dancers and musicians became more represented in the
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1450:. Heidelberg: Carl Winters Universitäsbuchhandlung. p.
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dancers performed. Dancers' eyes were thickly outlined with
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Ancient Egyptian funerary practices § Funerary rituals
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Tomb of the Dancers, wall painting, 17th Dynasty, Thebes,
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Kozma, Chahira (2006-02-15). "Dwarfs in ancient Egypt".
975:"Costumes of the Ancient Egyptian Women and Men Dancers"
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223:, which in context translates to "musical performers."
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Spencer P (September 2003). "Dance in Ancient Egypt".
1022:. Glückstadt, Germany: J.J. Augustin. pp. 44–5.
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Spencer, Patricia (2003). "Dance in Ancient Egypt".
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History of dance : an interactive arts approach
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577:There are indications that dancing dwarfs replaced
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1481:Kassing, Gayle (2007). "Dances of Ancient Egypt".
1410:Historical Wig Styling: Ancient Egypt to the 1830s
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297:Costumes and headdress of ancient Egyptian dancers
117:was a dance performed by a pair of men during the
1339:Graves-Brown, Carolyn (2010). "5. Women's Work".
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1198:Journal of the American Research Center in Egypt
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589:procession of the sacred barks carrying a god.
1485:History of Dance: An Interactive Arts Approach
1058:. London: Raqs Sharqi Society. pp. 111–21
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20:Naked female dancers in a painting from the
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1125:. Vol. 1. Detroit: Gale Research.
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1768:The Music & Dance of Ancient Egypt
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1240:Boucher, François, 1885-1966. (1967).
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641:who jumped and merged with the drums.
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1368:"Music & Dance in Ancient Egypt"
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1121:Arts and Humanities Through the Eras
581:dancers at the tomb entrance by the
183:entirely on ancient Egyptian dance.
172:The first illustrations of dance in
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1003:"Introduction to the Dover edition"
565:Dwarfs and pygmies in ancient Egypt
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13:
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1444:(1920). "IV. Kulturbeschreibung".
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1927:Ancient Egyptian race controversy
1743:Frederick A. Stokes Company. 1–8.
1345:. London: Continuum. p. 82.
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366:Music of Egypt § Old Kingdom
161:from the 5th millennium B.C. and
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1052:"Female Dance in Ancient Egypt"
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305:Topless dancer in a back bend,
1572:. Translated by Koch, Roland.
1553:Dunn, Jimmy (August 4, 2011).
1408:Lowery, Allison (2013-07-18).
1193:"Paddle Dolls and Performance"
1050:Spencer, Patricia (May 2005).
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1788:Life of the Ancient Egyptians
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243:may not be solely religious.
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1778:." KMT Communications. 1-13.
1765:"Music & Dance" (2009).
1589:db0nus869y26v.cloudfront.net
247:were used at the Temples of
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2112:Egypt–Mesopotamia relations
1932:Population history of Egypt
1578:Retrieved November 6, 2018.
1559:Retrieved November 3, 2018.
1555:"To Dance in Ancient Egypt"
429:Solo, pair and group dances
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1762:Dover Publications. 57-66.
1489:. Human Kinetics. p.
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315:Clothing in ancient Egypt
2225:Ancient Egyptian culture
2164:Ancient Egypt portal
1758:Ancient Egyptian Dancers
1752:. Human Kinetics. 45-48.
1685:Near Eastern Archaeology
979:Ancient Egyptian Dancers
929:Near Eastern Archaeology
816:Kassing, Gayle. (2007).
723:Near Eastern Archaeology
1746:Kassing, Gayle (2007).
1518:Wilkinson, John Gardner
973:Lexová, Irena (2000) .
891:Ancient Egyptian Dances
889:Lexová, Irena. (2012).
1774:Reeder, Greg (1995). "
893:. Dover Publications.
767:Dance Research Journal
633:from Karnak Temple to
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372:percussion instruments
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29:
28:1350 B.C., New Kingdom
1838:Glossary of artifacts
1418:10.4324/9780240821405
1005:in Lexová 2000, p. 3.
563:Further information:
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502:Further information:
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313:Further information:
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1646:10.1002/ajmg.a.31068
1536:Kassing 2000, p. 45.
1230:Kassing 2000, p. 47.
1984:Cursive hieroglyphs
1464:Lexová 2000, p. 12.
1398:Lexová 2000, p. 62.
1326:Lexová 2000, p. 61.
1306:Lexová 2000, p. 60.
1297:Lexová 2000, p. 59.
1285:Lexová 2000, p. 58.
1244:. Harry N. Abrams.
1218:Lexová 2000, p. 57.
1181:Lexová 2000, p. 65.
1016:Brunner-Traut, Emma
676:"Music & Dance"
615:celebrates the God
360:Musical instruments
1957:Funerary practices
1191:Morris EF (2011).
820:. Human Kinetics.
678:. Ma'at Publishing
559:Dwarfs and pygmies
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270:The main types of
167:Naqada II cultures
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1967:Great Royal Wives
1937:Prehistoric Egypt
1613:Missing or empty
1570:"Tale of Sanehat"
1447:Das alte Aegypten
900:978-1-306-35826-2
827:978-0-7360-6035-6
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1615:|title=
1595:. Retrieved
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1361:
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1159:the original
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680:. Retrieved
602:Sed festival
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47:Architecture
2204:WikiProject
2018:Mathematics
1979:Hieroglyphs
1893:Portraiture
1861:Agriculture
1848:Main topics
1062:November 4,
682:November 4,
549:White Crown
483:5th Dynasty
479:6th Dynasty
403:tambourines
283:New Kingdom
155:Upper Egypt
119:Old Kingdom
2134:Egyptology
2102:Technology
2065:Philosophy
2013:Literature
1905:Chronology
1597:2020-05-24
1377:4 November
1165:2022-10-08
1132:0787656984
1029:3870300132
657:References
364:See also:
72:Literature
2038:Mythology
1962:Geography
1952:Dynasties
1900:Astronomy
1721:161710307
1705:1094-2076
1654:1552-4825
1258:cite book
1205:: 71–103.
957:163264934
909:868968360
859:942644567
803:192995553
787:0149-7677
773:(1): 43.
752:161710307
605:directed.
529:afterlife
467:fertility
457:honoring
416:war dance
181:monograph
2219:Category
2174:Category
2095:District
2090:Capitals
2075:Religion
2058:Titulary
2048:Pharaohs
2028:Military
2023:Medicine
2006:Hieratic
1996:Language
1922:Clothing
1876:Obelisks
1791:. 41–48.
1785:(1992).
1662:16380966
1606:cite web
1018:(1938).
866:citation
836:76851766
645:reality.
446:soloists
399:clappers
387:sistrums
378:and the
307:ostrakon
265:Ruddedet
253:Wepwawet
163:Naqada I
57:Clothing
2194:Outline
2184:Commons
2144:Museums
2080:Scribes
2070:Pottery
2001:Demotic
1991:History
1942:Cuisine
1871:Revival
1713:3210914
1576:. 2000.
949:3210910
795:1477747
744:3210914
650:Sekhmet
639:Nubians
574:pygmies
521:Sekhmet
395:cymbals
291:reliefs
261:kheners
251:, Bat,
231:with a
215:as the
187:Dancers
145:History
127:guitars
111:Dancing
62:Cuisine
38:culture
2043:People
1910:Cities
1828:topics
1719:
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1670:797288
1668:
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613:Thebes
570:Dwarfs
536:Hathor
463:Koptos
401:, and
391:flutes
255:, and
249:Hathor
245:Khener
241:khener
237:khener
229:khener
225:Khener
221:khener
139:slaves
133:, and
123:harems
2107:Trade
2085:Sites
2033:Music
1947:Dance
1881:Pylon
1843:Index
1717:S2CID
1709:JSTOR
1666:S2CID
953:S2CID
945:JSTOR
799:S2CID
791:JSTOR
748:S2CID
740:JSTOR
635:Luxor
469:god.
450:pairs
448:, in
257:Horus
233:harem
197:ḥnı͗t
193:ḥsı͗t
135:harps
131:lyres
67:Dance
2053:List
1972:List
1915:List
1771:1-4.
1701:ISSN
1658:PMID
1650:ISSN
1638:140A
1619:help
1495:ISBN
1422:ISBN
1379:2018
1347:ISBN
1268:link
1264:link
1246:OCLC
1127:ISBN
1064:2018
1024:ISBN
983:ISBN
905:OCLC
895:ISBN
876:link
872:link
855:OCLC
832:OCLC
822:ISBN
783:ISSN
684:2018
617:Amun
572:and
465:, a
380:lyre
376:lute
348:viz.
330:kohl
211:and
201:ḥnwt
165:and
1888:Art
1693:doi
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732:doi
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544:mww
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276:ḫnr
272:ḫnr
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