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Advancement in Dance/Heritage Research In addition to providing some directions for future research and giving recommendations, there are some contributions that I hope my study has made to the advancement in the fields of heritage and dance studies. Indeed, the area... 
Protecting ICH (Intangible Cultural Heritage) The studies carried out in the field of ICH (see 2.2.1) support the idea that the inclusion in UNESCO’s lists brought recognition to two practices that were not very well known and that were considered marginal. Hence,... 
Data Gathering As mentioned in the methodology (Chapter 4), I encountered some difficulties during the data-gathering phase of my research, which limited the variety of my interview participants (hence, this part is connected to the section above on limitations of the... 
Raqs Sharqi (Belly Dance) Thesis My thesis has provided a preliminary exploration into what might be involved in the understanding of dance as a form of cultural heritage, to inform its safeguarding. A complex picture has emerged in which a variety of tangible and... 
Study Purpose The main purpose of my study was to identify the cultural heritage characteristics of Egyptian raqs sharqi and evaluate if it can be considered heritage and how it locates itself within the field of ICH. The objectives, in order to achieve the above aim,... 
The Holistic Framework Table 42 and Table 43 summarise the discussions in this chapter, which were centered around the elements that compose dance, as identified in the conceptual framework, and the sensitizing concepts that emerged from the literature and the data... 
Elements that Influence Heritage In the dance analysis, a series of elements have emerged that can influence heritage and encourage its safeguarding, preservation or threaten it. For living heritage, these elements are socio-cultural since, as Ashworth (2011, p. 2)... 
Dance and Transmission Transmission is part of heritage, as Naguib (2013, p. 5) posits, ‘safeguarding . . . conveys the idea of protecting and preserving, while at the same time transmitting far and wide’. Transmission is also connected with the temporal dimension of... 
Dialogical Paradigm As living heritage is based on a dialogical paradigm, the dialectic between change and traditions is important and so is practitioners’ agency. As Adshead (1988, p. 78) posits, ‘genres and styles place constraints upon . . . the nature and range of... 
Dance and Transculturality From the dance analysis, it has emerged that Raqs sharqi has been a hybrid genre since its inception. Raqs sharqi is a living example of a type of heritage generated by a ‘transcultural network’ (Welsch, 1999) and the dancers are... 
Introducing the Heritage Value in Raqs sharqi Adopting a dialogical paradigm of heritage, according to which heritage is (Bodo, 2012, p. 182) ‘constantly questioned and rediscovered by individuals who breathe new life into it’, this section explicates the heritage... 
Introduction In the previous chapter, I focused on the history of Raqs sharqi and analyzed six timeframes separately. In this chapter, I will bring these timeframes together focusing instead on the six analytical areas of: authenticity heritage transculturality... 
