The Holistic Framework
Table 42 and Table 43 summarise the discussions in this chapter, which were centred around the elements that compose dance, as identified in the conceptual framework, and the sensitising concepts that emerged from the literature and the data (authenticity, heritage, transculturality, change/traditions, transmission and influences on heritage).
The picture that emerges is holistic and complex, with tangible and intangible elements interacting through the embodied practice of performance.
Thus, raqs sharqi is a form of living heritage that, as Lo Iacono and Brown (2016, p. 100) argue is:
Embodied by individuals, in connection with the artefacts they produce and use and the environment they interact with and as expressed through practices, activities and performances. Living cultural heritage is also constituted by socially and culturally influenced traditions and conventions, as well as by the feelings and emotions of people and the way they relate to this heritage, including taste and perceptions. Heritage and human beings are indissolubly connected and continuously shape each other in an open-ended fluid dialogue.Lo Iacono and Brown (2016, p. 100)
have reproduced Figure 5 below, from 3.7, as it illustrates the
above definition of living heritage, showing how tangible and intangible
elements of heritage interconnect.
Definition of Living Heritage
Hi – I’m Dr Valeria Lo Iacono and I am a dance researcher with a PhD in dance as a form of living heritage. I also teach belly dance and love to travel to discover new dances around the world. I have worked also as an academic and in the UK and in Korea. Thank you for visiting my site.