Authenticity and Dance Heritage Findings & Discussion

Authenticity and Dance Heritage Findings & Discussion

Introduction In the previous chapter, I focused on the history of raqs sharqi and analysed six timeframes separately. In this chapter, I will bring these timeframes together focusing instead on the six analytical areas of:...
Heritage Qualities and Value Findings (6.3)

Heritage Qualities and Value Findings (6.3)

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...
Transculturality and Heritage Discussion and Findings (6.4)

Transculturality and Heritage Discussion and Findings (6.4)

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...
Belly Dance Heritage Change and Traditions Discussion (6.5)

Belly Dance Heritage Change and Traditions Discussion (6.5)

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...
Transmission of Dance and Heritage (6.6)

Transmission of Dance and Heritage (6.6)

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...