Dance/Heritage Research Questions and Summary (3.8)

Dance/Heritage Research Questions and Summary (3.8)

The aim of this thesis, which has guided this research from the beginning, is: 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 sensitizing...
Moving to a Model of Living Cultural Heritage (3.7)

Moving to a Model of Living Cultural Heritage (3.7)

Living Cultural Heritage The critique of the tangible/intangible divide, the sensitizing concepts evinced from the dance and heritage literature, the questions emerging from them and the post-dualist sociological and philosophical theories analyzed in this chapter,...
Using Merleau-Ponty: Phenomenology for Dance Heritage (3.4)

Using Merleau-Ponty: Phenomenology for Dance Heritage (3.4)

Merleau-Ponty: Phenomenology The use of Merleau-Ponty’s phenomenology has been established for a while in the field of dance studies, to overcome the dualism between the body and mind in the process of dance making and to bring to the fore the lived experience of...
The Missing Body and Embodiment in Heritage Studies (3.3)

The Missing Body and Embodiment in Heritage Studies (3.3)

Embodiment, the Body and Heritage In the previous section, Kirshenblatt-Gimblett (2004, p. 53) was quoted as suggesting that the model of ICH accords value to the carriers of oral traditions, to their ‘habitus and habit’ and that intangible heritage is alive. This is...
Tangible vs Intangible Divide Critique (3.2)

Tangible vs Intangible Divide Critique (3.2)

What is Intangible Heritage The 2003 UNESCO Convention (2003, p. 2) calls intangible all heritage that is based on ‘practices, representations, expressions, knowledge, skills’. However, the same definition includes ‘the instruments, objects, artifacts and cultural...
Conceptual Framework Intro (3.1)

Conceptual Framework Intro (3.1)

Dance/Heritage Questions The literature review chapter has traced some issues to be considered regarding dance/heritage and has given the foundations for this research conceptual framework but also raised questions, which were listed at the end of Chapter 2. Moreover,...