Dance Research
Read the dance heritage research from the PhD of Dr Valeria Lo Iacono by choosing from the posts below and from the additional pages.
The Era of Raqs Sharqi as Global Transcultural Heritage and the 2000s (5.7)
Moving from the 1990s to the 2000s From the early 1990s, there has been a decline in the number of big Raqs sharqi stars in Egypt and the Middle East, for a variety of reasons, as discussed. Since then, Raqs sharqi has almost disappeared from Egyptian movies; many of...
Sociological Analysis of Raqs Sharqi Stars in Egypt 1980s & 1990s (5.6.4)
Dance Sociological Analysis Looking at Table 31, there do not seem to be many new movements being developed in this timeframe. There are the oldest kinemes, plus the more recent ones that have, by now, become part of the movement vocabulary and various allokines. A...
Laban Dance Style Analysis of Belly Dancer Mona al Said (5.6.3)
About Mona al Said Biographical information about Mona al Said (منى السعيد ) is available from an article written by El Safy (1996) and from Mona’s own website (El Said, no date). She was born in Suez Canal and loved dancing folkloric dances at school. It was not...
Lucy – Classical Raqs Sharqi Belly Dancer from Egypt Laban Movements and Style (5.6.2)
Lucy's Background Lucy (لوسى) was one of the star dancers of Cairo in the 1980s and 90s. She is an actress, singer, and dancer (El Safy, 1993a) and danced at the Parisiana, a club in Cairo owned by her husband (Taylor, no date; Rose, 2006; TheCaroVan, 2015c). Dancer...
Fifi Abdou the Baladi Dance – Movements Analysis & Dance Style (5.6.1)
(1st profile and analysis of the three famous Egyptian dancers of the 1980s and 1990s) Fifi Abdou Background Fifi Abdou (فيفى عبده) was born in 1953 (Shams, 2016) and started dancing at the age of 12 (Shams, 2016), becoming a soloist in a folklore troupe at the age of...
The Last Big Raqs Sharqi Stars in Egypt (the 1980s and 1990s) – 5.6
1980s and mid-1990 Raqs Sharqi (Belly Dance) The timeframe between the mid-1980s and mid-1990s sees a flourishing of raqs sharqi in Egypt and abroad (in countries such as Lebanon and the UAE but also in London, as we will see). I have found fewer clips with dance...
Sociological and Choreological Analysis of Raqs Sharqi in Egyptian Cinema and TV (the 1970s and 1980s)
Traditional Kinemes and Dance Movements in the 1970s and 1980s Table 25 shows that the traditional kinemes are still performed, along with those that had been observed for the first time in the previous timeframe, such as the hip jewel. Table 25 - Traditional kinemes...
Nelly Fouad, Raqs Sharqi – Innovation in Movements (5.5.3)
(Continuing on the section on Raqs Sharqi in Egyptian Cinema and TV (1970s and Early 1980s) The Early Career of Nelly Fouad Nelly Fouad (نيللى فؤاد), as Evanoff (2012) reports, was born in Alexandria and she first became famous in Lebanon, before returning to Cairo....
Soheir Zaki – The ‘Truly Oriental’ Performer (5.5.2)
(Continuing the section on Raqs Sharqi in Egyptian Cinema and TV (1970s and Early 1980s) Soheir Zaki's Background Soheir Zaki (سهير زكي), Nearing (2012a) and Sullivan (2002) report, was born in Mansoura, in the Nile Delta, and moved to Alexandria with her family when...
Nagwa Fouad and Raqs Sharqi in Egyptian Cinema and TV (the 1970s and Early 1980s) (5.5)
Raqs Sharqi on Egyptian TV and in Movies During this timeframe in Egypt, there are more videos of raqs sharqi from TV shows, rather than just movies. Also, there seems to be a growing interest in trying to legitimize dance as an art form. The two most famous raqs...
Raqs Sharqi in the 1960s and early 70s Analysis and Summary (5.4.3)
Timeframes and Themes In Table 20 and Table 21 (below), I have highlighted the main themes for this timeframe (1960 and 1970s). CLICK THE IMAGE BELOW TO SEE LARGE VERSION Table 20 - the 1960s and early 70s in Egypt and the USA – Part 1 CLICK IMAGE BELOW TO SEE FULL...
Nadia Gamal Laban Dance Movements & Style Analysis of (5.4.1)
Introduction The 1960s early 1970s timespan has emerged from the data as a distinct timeframe, because, in Egypt, there are certain changes with regards to costumes design and to a certain extent to movement style. Also, the late 1960s and early 1970s, saw the...
Movements Analysis of Dancers of the 1930s to 1950s in Egypt (5.3.5)
Table 15 includes a comparison of the movements used by the three most famous dancers of the golden age. Kinemes All three use isolations of the hips, torso and shoulders, and a clear movement vocabulary of Raqs sharqi is already established at this stage. Following...
Egyptian Folklore and the Reda Troupe (5.3.4)
1950s in Egypt and Egyptian Culture In the 1950s in Egypt, after the 1952 revolution, the government encouraged a renewed interest in Egyptian culture, particularly in the late 1950s. It was in this political and cultural environment that the Ministry of Culture...
Naima Akef – Laban Analysis & Movements (5.3.3)
Introduction to Naima Akef Naima Akef (نعيمة عاكف) was also an innovator in the field of Raqs sharqi, because of her training and background and she was very influential for future generations of Raqs sharqi practitioners. The famous Egyptian dancer Nagwa Fouad...
Samia Gamal Belly Dancer Laban Movement Analysis (5.3.2)
Samia Gamal Movement Vocabulary Samia Gamal (جمال سامية) is the most famous of the dancers of the Golden Age of Egyptian cinema. The basic movements she used were part of the same movement vocabulary used by the other dancers of her time. However, the feeling and...
Raqs Sharqi in Egyptian Cinema (1930s to 1950s) – 5.3
Research on the Golden Era of belly dance and Egyptian cinema in the 1930s to 1950s. Samia Gamal, Tahia Carioca and Naima Akef.
Birth of Modern Raqs Sharqi, Baladi and Ghawazee (Late 1800s to 1930s) and Belly Dance (5.2)
Baladi and Ghawazee dance and Roma dances. Cultural production, Awalim Badia Masabni, and transcultural dance. costumes and props.
Introduction to the Analysis of Egyptian Raqs Sharqi as Living Dance/Heritage (5.1)
Analyzing Egyptian Raqs Sharqi belly dance chronologically and historically. Global transcultural heritage. Intangible and Tangible elements.
Research and Judgment Criteria (4.81)
Explanation of the Ph.D. research judgment criteria and positivist perspective of validity, coherence, and verisimilitude for dance heritage.
Dance Research Data Validity and Reliability (4.8)
Qualitative dance data study analysis, reliability, coherence, validity and interpretivist research. Dance videos and deviant case analysis.
Presentation of the Dance Research Data (4.6.4)
Writing a dance research data model, analysis & timeframes, clustered on key themes. The traditional narrative for intangible heritage.
Dance Research Coding, Themes, and Thematic Analysis (4.6.3)
Introducing the dance research coding, themes, and thematic analysis. Emic vs Etic codes, transmission, Zotero, and qualitative research.
Texts and Interviews Analysis – Dance Heritage (4.6.2)
Dance heritage Ph.D. research texts and interviews analysis transcription process. Naturalism, denaturalism, clarity, and accuracy.
How to Analyse Dance, Laban and Semiotic Levels, and Analysis (4.6.1)
Learn how to analyse dance and the semiotic levels. Using Laban movement analysis (LMA), kinemes, video and belly dance heritage.
Data Analysis for Dance Heritage Research Introduction (4.6)
Introduction to the data analysis and analytical methods used in this PhD research. Bricoleurthematic analysis research for dance heritage.
Research Ethics for a PhD on Dance Heritage (4.5)
Ph.D. research ethics, committee, interviews, and considerations in this dance heritage research. Skype interviews, guidelines, and strategies.